#i love parallels i love symbolism i love themes kick my ass !!!!

[raayllum]

I know you love The dragon prince and that’s great. I binged the show after season three released. I listened to podcasts about the show . I listened to yours and felt really happy when I found people who also liked the show. Unfortunately I fell of during the hiatus between season three and four. I am patient person but three years was long. Also I watched the show for rallylum and through the moon just kind killed my love for them.Then I found your blog and was really happy. Then I saw how you felt about the owl house and it bothered me. As a neurodivergent person the show made me feel really seen. I know it’s stupid to be upset about an opinion. As a person who wants to be an English major how do find parallels between relationships and characters. You talk about certain ones and I don’t see them at all. Your probably more seasoned as a writer than I am so

Ps : sorry this is long and hope tdp ends well in your opinion

Few things:

1) I'm also neurodivergent (hi!) - specifically Autistic - and I have also largely wanted to be understood my whole life, much like Luz (according to S3). While a show making you feel seen can certainly be wonderful, meaningful, and sometimes even life changing, to me that's not enough to make it a Good (per my subjective tastes) Show. That's not to say TOH is a bad show - far from it - but it's one that didn't appeal to my particular tastes due to 1) too many characters and not enough screentime, 2) a lack of theme (which many kids shows don't have a ton of because they're, y'know, for kids), and 3) all of the characters have very black and white morality, and that's just less interesting to me.

Being upset about opinions is very natural, and it's not stupid, but it is also important to acknowledge that 1) you can't control how anyone else feels or interprets things and 2) no one else can control how you feel or interpret things.

2) I adored Through the Moon. Rayla's tendency to leave (and why) is always a hurdle I expected them to have to tackle at one point, and given that it's her main character flaw, I'm really excited and happy with the way it's been handled so far and how TTM kicked it off. The graphic novel also really resonated with me in Callum's place, as I too have loved many of my loved ones through incredibly difficult periods regarding their mental health, and the graphic novel felt very honest about the toll that can take on both parties in different ways, and how love/support can help, but ultimately isn't enough if the person isn't ready (or willing) to start trying to get better. It's not an easy pill to swallow, but it is a realistic and important one and I've enjoyed how the show has continued that storyline with Rayla (and Callum) into S4 and S5

3) Being an English major is not for everyone! I know many people who love to read and who are very good writers where an English degree would not suit them at all. It's a lot of reading (by my final year, there were some weeks where I was reading an entire 400 page book roughly every week, if not multiple at the same time). It is also a lot of writing (and my professors regularly chewed me out for my grammar). You also tend to kind of double being a history major as depending on what you're reading, you learn a lot of the religious/historical/cultural context in order to understand the language, references, and messaging intended by the author (and then whether or how much to disregard it, lmao). Being able to analyze — to see connections between characters and themes in particular, but other forms of symbolism and messaging — quickly is probably the main thing that saved my ass and let me stay on Honour Roll throughout my undergrad.

I have also been writing pretty seriously for a long time (I 'started' at age 10 but only really count age 12 onwards, cause that's when I first started writing 70k+ drafts every 1-2 years for original WIP stuff). A lot of what makes a good writer is being a good reader, taking your favourite stories (books or otherwise — movies, musicals, tv shows, etc can be gold mines) and figuring out what works in them and why, or why you like them (or don't like them), etc.

For example: The Owl House is a primarily character driven > plot driven story. In book form, it'd likely be Middle Grade to early YA. It's interested in character relationships among the main cast (any of the more villainous characters like Belos are never given the same amount of development or screentime) and some mild worldbuilding. It has some social commentary (mostly on the school systems through Luz and mental health through Eda) and an overall theme of "being different is good," breaking away from abusive systems/dynamics, and the importance of solidarity.

If I compare and contrast this to TDP, The Dragon Prince is far driven in equal parts by the plot (because it's wholly serialized) and by character. It is also very thematically driven — most notably how to break intergenerational cycles of trauma and violence, but also self-destructive tendencies, abuse, responsibility, power, grief, and concepts of justice and punishment. This is also reflected in the fact numerous villainous characters (Viren, Claudia, etc.) share close to equal screentime with the 'good guy' protagonists and heavily explores morality across a decently wide spectrum. It thereby has a more mature tone in its subject matter and would easily be YA in book form.

Which is to say: the best way to get better at analyzing is to break characters down to their basic plot structures (Character A does this, they want that, Character B does this, they want that, etc.) and see what pops up (for example, in Avatar The Last Airbender, Aang and Zuko both cannot go home, and duel Ozai when they're 13 years old, ultimately refusing to be violent against their opponent). You can also look at similar personality traits (curiosity, selflessness, carelessness, etc). Practice looking at the stories you love and figuring out what works and doesn't work for you personally — and then go beyond relatability to look more at subtext and symbols. Some of the best things I've ever read were books that had nothing relatable to my personal experiences in them (like The Kite Runner by Khaled Hosseini), and that was why I loved them because they got to broaden my horizons.

[sskklvr]

WAIT DID ANYONE EVER ASK U ABOUT UR YURI ON ICE AU COS IF NOT PLS SPILL I LOVE SSKK AND YOI AND I SHOWED UR DRAWING TO MY BESTIE COS I WAS SO EXCITED I NEED TO KNOW MORE!!!!

AHHGHF SORRY THIS TOOK SO LONG, THE YOI AU IS A BIG INCOHERENT MESS SO I STRUGGLED TO PUT IT INTO WORDS <//3

THIS IS ALSO SUCH A LONG REPLY BC I JUST. RAMBLE. I AM SO SORRY IF THIS MAKES NO SENSE, IT IS ABSOLUTELY ALL OVER THE PLACE-

Okay! So I really really love the AU, but sadly there's no cohesive plot to follow if we're gonna be honest- I have a few points, like the banquet I changed up, and Akutagawa's appearance as Atsushi's coach is also changed, but other than that I really just have this to draw connections and put sskk in silly little YoI scenarios </3

I tried real hard to match BSD characters to YoI but it was just not working for me [I've been messing with this AU for like, a year after all] Even deciding between Akutagawa and Atsushi as who would be Viktor and Yuuri was a bit complicated, bc I personally think it has potential either way. The obvious, and generally more fitting choice is the one I went with ofc, but I think a version where Atsushi is Akutagawa's coach would be just as interesting!

Anyway, despite being mostly just for kicks, I still tried to put thought into it!

With how Yuuri was constantly surprising and surpassing Viktor's expectations, I figured Akutagawa's ability to surprise Atsushi with his actions would work well. [Also because I think the scene in the parking lot where Viktor tells Yuuri he'll resign as his coach if he doesn't make it to the podium is very reminiscent of the scene in s3 with the imagery of Akutagawa shattering from Atsushi's reckless words-] But again, Akutagawa as Viktor works just as well since Yuuri says in the very first episode that Viktor never ceased to surprise him, if we're going that route. As well as the fact that both sskk and Viktuuri learn from each other throughout their respective journeys together.

Like Atsushi's 2 costumes being based around his ADA design/The Tiger, and Beast, or Akutagawa having a lighter coat/his overall main design being a lot brighter to symbolize the change from yk, the Mafia in canon. I also threw in the Ch88 themed look for Akutagawa's younger version because I wanted to draw Akutagawa with longer hair, but the design itself is supposed to symbolize a sort of 'end' to his skating. Since Viktor begins to lose inspiration further down the line until meeting Yuuri, that's what I'm trying to implement with the design. If that makes any sense-

Since Akutagawa in canon had been searching for worthy opponents as a way to gain Dazai's approval, when he finally met his match against Atsushi he was practically thrilled [for lack of better words/to put it simply--] So I'm taking that idea and throwing it into this AU as Akutagawa gaining back his passion for skating when he sees the potential in Atsushi even despite his loss at the GPF. Speaking of, the banquet also goes a bit differently-

I figured stripping and pole dancing wasn't really Atsushi's style, I don't know how to explain it so I might doodle it sometime, but I have this old ass screenshot of me talking about this AU to mildly sum it up

And going back to Atsushi's 1st costume being ADA themed, I wanted that to tie into Yuuri's first program being about his career and life, and the love he has for the people who stuck by him through everything. The ADA is kind of a perfect example for that, I mean, Atsushi's entire uniform was given to him by each member so I figured it was a perfect parallel. Although there really isn't a tie between the Beast costume and Yuuri's Eros program though- That was just for fun, in a way.

I also definitely want the ADA itself to act as the hot springs that Yuuri's family runs, but I can't figure out which characters would be which person- I'm ALL ears for any suggestions for that btw, I literally only have sskk decided, everyone else is a toss up-

Ahg, there's so much more I'm forgetting, I'm sure, but I wanted to answer this somehow bc I've been dying to get out my thoughts for this AU

Anyway, thank you for the ask! And I'm sorry my response was super late and a full length essay- If there's any specific questions or curiosity, I'll do my best to answer </3

[monkey-network]

Why EVE is The Best

Heads up. I’m basically gonna sperg about this whole film, so spoilers for this twelve year old film. Enjoy!

Wall-E is one of my favorite films; I would gladly kill and extort to bring the sequel I had in mind to life in any way; animatics would pleased me if nothing else but anyways. I love this film and one of the biggest reasons for that is the character EVE, a character that stuck in my mind longer than most if you can believe. So, better time than any, Imma just ramble about why I love this character. And, before we begin, I’m gonna say EVE is a girl, Wall-E is a boy due to my brain believing they were respectively female- and male-coded for most of my life but do NOT let this stop you from envisioning them however you please. If they’re both girls or boys to you, all power to you. With that said, here we go...

The Design

Now I’m not saying she has the greatest robot design ever; I don’t look at eggs and remember better days when I got to watch that film for the first time in my old house. But Pixar certainly knew how to make simplicity work to perfection. Simple shape, simple mechanics, simple movements. All feeling right at home with her coming from the more advanced future, especially compared to Wall-E where he’s literally a more grounded looking robot. Thematically, this design is fucking genius. A scouter robot with the ability to fly with ease and yet carries a literal arm cannon with incredible fire power. Both expressing how she can have her head in the clouds, observational when necessary, and yet trigger happy amidst the slightest inconvenience or surprise. *MWAH* What the fuck? It’s a great duality where the hard, more logical exterior possesses a sweet and approachable core just waiting to be shown and it’s wonderful seeing Wall-E, this literal block head, fumble his way into having a simple conversation with her. Now I can’t really disassemble how the programming in Wall-E works where they can behave like humans but follow objectives like a machine... but, I can try. With this scene.

Now take this with a grain of salt, the inferencing is more to the imagination otherwise the fun of this movie is tarnished. But from this scene, it’s clear that in this universe robots can show feelings for one another but can’t be romantic with humans because they can recognize human emotions and reactions but do so in an automated sense. The film expresses their curiousity just enough to where their reactions to human things and functions are within reason and yet doesn’t toy with the viewer’s believability. EVE is capable of responding to Wall-E’s advances but doesn’t 100% reciprocate his feelings because Wall-E isn’t her directive (least not yet, that’s for later). Not to mention, she isn’t that adept at romance unlike Wall-E who, by being alone with Earth’s technology, was able to learn and process human romance through the Hello Dolly VHS and potentially other things over the years. So this conversation works with the two having their limited knowledge, we don’t know how much they know, and the film keeps focus on having a balance between somewhat logical reactions and minor impulsive humane reactions that makes them alive but only just enough so it doesn’t feel like them being robots is pointless... Phew. Speaking of which, you know what isn’t pointless? Her motherfucking buster cannon.

Her whole ass arm houses a gun capable of nuking an entire cargo ship in a matter of seconds and it makes sense that she’d have it cuz how can a scouter robot defend themselves but beyond that, it’s just so goddamn cool. Like yeah, I can express how this symbolizes about America and... how they want to fuck their guns or something but who cares. She has a FUCKING ARM CANNON and it’s badass, end of discussion.

The Hanger Moment

Much as I love the moment where the two are in space flying, I honestly say that this moment where the two are in Wall-E’s house during the darude sandstorm is incredibly important. EVE is reasonably taken to his home and naturally, when the lights come on, she looks through the stuff he gives to her. She gets to take it easy for once, things can be quiet after she blew up a whole ship, have a giggle or two at the trinkets he’s collected, with the cigarette lighter being a good tool that’ll be used for later.

She’s curious, bouncy, still a bit quick on the draw, but is nonetheless taking in a lot this robot on Earth has to offer. It’s this and the small 1v1 they had before that is a lovely seedling to not only their connection but EVE’s development on her own, where we hardly need dialogue to show how she’s feeling about it all. And yeah, I’m with plenty of people to say that if this movie was just about the two of them being on Earth it probably would’ve been the greatest Pixar film of all time for many. Fortunately the plot kicks in when Wall-E shows EVE the plant, forcing her to go dormant, thus pulling Wall-E into an adventure on the Axiom ship. And I say fortunately cuz this is where EVE goes from good to great as a character.

The Axiom

While it’s something where we all wish that this film wasn’t the densly plotted, society driven second half, I say the second half on the Axiom carries the film’s themes and character building for EVE to good heights. We enter EVE’s territory, the slick, iPhoney synthetic world where humans have become literal potatoes and everything’s more or less automated. For EVE, the first half of the film lets us see the more playful side of her and doesn’t mind being around Wall-E, but isn’t immediately won over with the concept of love. She’s still goal-oriented and trying to keep the two stuck on Earth would’ve made her arc as open-ended and ambiguous as The Good Dinosaur. Time on the axiom puts her original sense of thinking to the test when Wall-E tags along.

To share the bigger picture real quick, the human element of Wall-E is complimentary to Wall-E and EVE’s humane behavior. To quote RealJims’ honestly flawless analysis, “What better way to show the humanity in a robot than to be among humans that act like robots?” For Wall-E the robot, this works perfectly as a fish out of water story. His time on Earth affects not only a few humans, but other robots like MO and the secretary machine, as minor as it seems.

So when Wall-E seemingly fucks things up, EVE is rightfully peeved. His slip ups especially with the Diagnostics scene tests her goal-oriented nature and patience, to a tasteful comedic strength. Doesn’t mean they now turned Wall-E stupid, the film makes sure the monkey wrenches are only accidents from someone severely out of the loop of things. This leads them and us well into

The Depths of Space

The scene where Wall-E gets launched in the escape pod thrills me with joyfully painful suspense every time. EVE making a mad dash to him as Wall-E madly tries to get out of the soon exploding pod, leading to it exploding and we get this from EVE. The wide eyes of terror followed by the whispering “No”s gives me shivers every time I see it in full. 

Now one could argue her concern was more for the plant getting destroyed, but I say she was more frightened at the idea of both Wall-E and the plant getting nuked. While Wall-E did make her mad, she nonetheless cared about him and wasn’t expecting the tiny bot asshole to send him to death. So it’s like, “Oh no, both my purpose and the one that helped me are both gone.” 

Luckily, thanks to some foreshadowing, Wall-E made it out alive with the plant in safe keeping and EVE seeing Wall-E actually care about her goal makes her beam with joy, being that reasonable spark that brings the two closer together. I mean if your love interest cheated death to help you out, why wouldn’t it? Everything about this moment is what made EVE stick with me long after I watched the film; the emotional journey the director was able to convey with her is so well-built to this point, it’s still amazing how they were able to do it with little dialogue or facial expressions. I especially love the emptiness we get of the two of them in space, where it adds focus to the two of them especially. But my god, that’s only half of it...

The space dance sequence between the two is still one of Pixar’s most gorgeous scenes. The way Wall-E is able to keep up with the fire extinguisher after having trouble in the film’s beginning, the wide shots of space, the lovely glow of the engines, the music. I especially like to think of this scene as a parallel to EVE’s initial flight on Earth. For her, it was that rite of passage after the touchdown and now she gets to share that same moment with someone she’s grown to like or appreciate. Then again, this isn’t the moment where EVE loves Wall-E. We’re close, but we need that one inch to finally show her the truth. That’s when she sees

The Recordings

The moment where EVE gets to see the memories of her time on Earth, including her dormant stasis, is where shit finally clicks. She essentially gets to know how Wall-E felt not only about her, but about love. Even when she couldn’t be there, she sees now that Wall-E cared about her and is able to process what Wall-E processed when he looked at Hello Dolly at one point. Scene also works because getting her directive, or the plant, was generally done and done with, she finally gets time to focus on something else, on her feelings for someone else. This leads well into... the well that leads to...

The Dumpster Moment

The scene with the recordings is where things finally click, but the moment with EVE and Wall-E in the ship’s dump is where it comes together. After getting betrayed yet again by AUTO, EVE’s concerns are now less with the plant and more for Wall-E and thanks to the moment previous, I can totally buy this. It’s teeth gritting seeing her try to rescue a now broken Wall-E from getting ejected into space and losing his energy thanks to a destroyed chip. So when we see her finally toss the plant aside and says Wall-E is her directive now, I tear up. It feels like a genuine, built up declaration on her part; the moment where EVE can rationally return his feelings ten-fold and truly be there for him. But that isn’t all to it, because Wall-E reasonably struggles his way to the plant to show that to save him, they need to get to Earth which means getting the plant back to the core of the ship.

This gives EVE newfound resolve and puts that to the test, where she has to basically defect against AUTO who’s become the physical antagonist of the film. The escape sequence is a bit of a step down since putting humans in danger doesn’t really affect the film’s themes all that well, but I can’t argue that pitting the captain against AUTO is a bad climax. 

The Death to Wall-E

Thinking about this film after so long, it is still pretty fucking shocking to realize how punishing they treat Wall-E in the final act. It’s even more shocking when you realize how the roles have reversed, where Wall-E focuses more on EVE’s goal with the plant instead of EVE herself and vice versa. Then again, I say it’s fair that they did this, to show how much Wall-E was willing to sacrifice for the one he loves which makes the painful wails we hear from EVE feel all the more impactful. Like you’re serious with her as she struggles to accept his death before they reach Earth. And speaking of Earth...

The Finale

Now, I can’t help but argue it’s an unfortunate plothole that EVE is somehow able to fully repair Wall-E in spite of never fixing anything else in the film. Then again, it’s fucking pumping seeing her move quick to put him back together and it’s that final stomp on the heart when, even when he’s fully restored, Wall-E bares no memories of her or anything. You see her desperately try to get him to remember anything only to be met with an emotionless, reset shell. In finally understanding Wall-E’s feelings of love, she can’t really be with him. Until...

True Love’s Kiss Saves the day

I can get scientific with how getting his memories back was possible, but I won’t because the scene just works. It’s quiet, takes it time, and that last eureka moment with the two truly get to hold hands makes up for any scattered logistics. I’d say this is where Wall-E finally gets the love, but the same can be said for EVE, after everything she went through. I’ve admittedly seen a few talk about how the female lead is only valid through the love of another, typically male, but I believe what works 120% here is that the two characters basically have themselves figured out, Wall-E more than EVE, and EVE’s journey is never hindered for a sudden realization to love. She still succeeds in her mission, but the stakes for her have risen once she comes to terms with her newfound feelings and these feelings aren’t out of pocket. Wall-E has his feelings for EVE from the getgo, but dedicates to helping EVE with the goal, even if it means death. The connection they get to have is earned and is what drives the plot. EVE earns what she realizes she wants and that makes her a great female protagonist in my eye.

The Conclusion

Wall-E is a pretty warm movie; a film how the love of two brings humanity to salvation and vice versa. How EVE and Wall-E’s love is synonymous to the intertwining of modern and older technology to shape the world. But honestly, that probably wouldn’t have worked as well without how great they made EVE as a character. Wall-E is great too, but it’s astonishing to see EVE’s journey with Wall-E and show her natural growth of understanding something as warm as romance. Her journey is pretty synonymous to how I feel with the movie overall. The time we get of them on Earth is symbiotic to the time we get in space; we get an intimate journey that expands to a film about society but remains personal and intimate nonetheless. And with EVE, we get this superbly fleshed out character that’s emotive, understanding, and above all gets a resolves that’s awesome to see every time I catch or just think about this film. What else is there to say?

They’re the Best.

[littlebabycrybtch]

oh my god im sorry but i HATE reading analysis discourse so fuckgin much. its so annoying and unnecessary and cruel bc per usual ableists just Scream over everyone and manipulate the view by focusing on the wrong points. disrespect towards this issue is never gonna work and yall would get that if you actually listened to the way the (usually nd) people felt about it and why, but ur too busy mocking them so you look good for consuming the Proper Medias tm. i mean you literally have to know this isnt productive, yall keep going bc you get a kick out of laughing at ‘unintelligent’ people.

‘uu ur teachers didnt oppress u by making u read to kill a mockingbird instead of the hunger games” ok listen 1. media you dont personally care abt can still definitely hold depthful value and be analyzed. oh my god lmao. the people who prefer ~that kind~ of media arent stupid and dont prefer easy thinking, its your own fault for Not looking into it yourself and just assuming its worthless, literally judging a book by its cover. LITERALLY avoiding the analysis skills you claim to have by assuming anything you read in highschool = smart, valuable and anything mainstream = stupid and useless. most books inherently contain symbolism and morals, a lot of these people CAN understand it, theyre just criticizing the inaccessibility of the writing that was forced on them academically. the people analyzing those medias instead of your favs are still taking in lessons even if they prefer to do it in a different format, i mean for instance THG is literally about fucking classism and racism and war you dumb hypocritical tunnel vision bitch, young adult media usually has a Lot of real world parallels in it that very much pertains to how teens see the world, thats the literal POINT, just cuz ur too elitist and dont respect children enough doesnt mean some books are ‘too stupid’ to analyze with any real social value, and 2. A BOOK NOT BEING EXCITING... OR EASY TO UNDERSTAND... IS LITERALLY SMTH VALID TO CRITICIZE IN MANY CASES, ESPECIALLY IF YOU ARE GIVING IT TO CHILDREN.... if a kid says “this is boring/too long/uses words that i dont know, so i cant make any sense of it” that doesnt always mean theyre lazy or w/e, if its not a book made for kids (bc kids can understand mature themes but that doesnt. mean you can just throw all the other skills they arent experienced with yet at them, they still need writing tailored to them), Thats your first problem, but sometimes ur book is just fucking boring all together. a book can have as much symbolism as it wants, if its not there to open the mind and provide necessary depth, but to feel self important and make you feel self important for getting it, thats not a good book. and with books i do respect now like TKAM i remember outright saying, “i literally cannot read this and dont get it at all” at like 10 yrs old, and my teachers didnt do shit to explain it or help me or give me any skills at all, they were just like. :) keep trying!! according to your scores we know you can do it!!! so, i did not keep trying, i gave up, and i guarantee if it had been a few years later it would have been easier. if i had been given the opportunity to read stories with similar morals that were made for my age range that i WANTED to read, i guarantee i wouldve gotten so much more out of that. but i was literally DISALLOWED, bro if i grabbed a book that actually interested me, i was told i couldnt check it out at ALL unless it was in the ‘range’ i was assigned, which was college level since i was in 4th grade. so if you think i shouldve kept reading, im being unironic rn, you need to go get a degree, become a teacher, and if a kid or teen says to you what i said, sit them down and TEACH THEM without shame, and fight for better regulations of what reading levels can be pushed on what age groups. if lit analysis is this important to you, FUCKING TEACH IT PROPERLY, that is literally the ONLY REAL SOLUTION to the problem you have, NOT SHAMING the people who were ALREADY FAILED BY THE SYSTEM.

the problem is not ‘idiots think symbolism is stupid’ the problem has ALWAYS been ‘the education system is flawed and how and when children are taught certain skills is so corrupted and damaging, the children growing up with it cannot Help but struggle later in life, and your issue should be with the system”. like can i be real. learn how to Emotionally ~analyze~ posts from sad kids with mental illnesses saying smth as basic as “i wish i wasnt forced to read mature books as a child without any themes pertaining to me at all bc it hurt my already fragile motivations for learning :/” without your ass getting defensive over the classics. bitches stan ‘the door is red to symbolize anger’ but think thg is just a stupid dystopia love triangle book................ ur not even that smart like yall are just elitist like LITERALLY just elitist if you mock the values ppl see in other books and claim theyre too stupid to understand ~real books~. a fucking mickey mouse cartoon could hold the exact same moral lesson as a 1200 page novel written by a college professor of 30 years, like the Exact Same Conclusions CAN be drawn no matter how many words and analogies and metaphors are thrown on top!! for many those fancy details make it more enriching but its literally possible to get the same concepts from “EASIER” material, that is not Lesser it is ACCESSIBLE and it should be ENCOURAGED all the same. yall are gatekeeping and its stupid, if you actually want ppl to analyze media then you’d applaud how they analyze their passions even when you dont share it, not shame them for struggling with understanding other stories. this rly boils down to either ‘i hate ppls preferences and wanna make them feel stupid’ OR the ever so lovely ‘i hate whiny disabled ppl and kids who were pressured to the point of burnout, and wanna make them feel stupid’. its fucking exhausting. idc how you guys feel, you talk to hear yourselves talk and its all just talk and nothing helpful, your disrespect doesnt work bc its an echo of the root problem. for gods sake shut up already lmao

[incarnateirony]

In what season and episode did you realised that Destiel went from subtext to actual text?

Difficult question really. I don’t exactly have a magic switch of some weird personal set goalpost I have, and frankly, wasn’t even really a shipper, just defended shippers, until... 13.5/6. I think I started slipping after 12.19 because I’m not a moron, I don’t live under a rock, I have eyes and know what the fuck a mixtape means to Gen X. But I kept it at arms reach because even Carver era was so totally subtextual-- atop all the stuff that got cut S10 after the S9 blowout, I didn’t exactly want to invest myself as much as point out shippers weren’t crazy for seeing what they saw, especially S8/9+ and even prior the resonance of the hero’s journey over our entire human civilization and historical othering of queerness made earlier readings or notices of it completely fair even if not really like, directional by the crew?

But to begin, Carver era was when I saw /intentful and meritful construction of the body of text, via subtext, to subtextually tell a story with classic queer coding./ Because a lot of what this fandom calls queer coding makes me want to hide my face behind a quantum hole of facepalms and is often like, pretty much the reverse of what should be advocated or considered. All those retro old “he’s been written as queer from S1″ make me want to kick puppies or something because oh my god it’s Not Good, most of the content there is Very Bad And Hugely Problematic, and it’s an attempt to retroactively prove what old canon was doing without any substance.

Carver era was the shift to substance, but silent substance. Subtext that’s genuinely thematically scaffolded into the storyline in a way that while the events themselves were largely cued on subtext, consideration of that subtext was critical to understanding the full body of text and people that refused to grow into and adapt with that text as the tone shifted are the ones that got more and more confused and angry.

Dabb era was the threshold crossing into (often low-visibility) text. Fandom intentionally arguing points that require complete removal from social structures (which is everything from regional meanings of major symbols, social codes, language, or why-letters-mean-things) doesn’t mean shit doesn’t mean what it means. A mixtape isn’t subtext any more than getting on one knee and popping open a box is subtext even if they don’t verbalize the words. We know what these fucking things mean and anyone who doesn’t is in DESPERATE need of going outside and experiencing the real world before making any kind of social commentary on a body of text.

When it comes to dialogue text, Last Call is where Bi Dean or at least Queer Umbrella Dean was textualized. Again, it doesn’t matter if people don’t understand the long argued history that was put to bed about repeat sexual encounters with men, it doesn’t matter what the gender of the other triplets were, literally none of that matters. It doesn’t matter if the person understands it. It doesn’t matter if they know their queer culture enough to know their arguments were already buried. It is what it is.

There’s this disillusionment that unspoken physicalized shit like kissing or sex, or verbalized ones like “I love you,” but “I love you, in a gay way, specifically and only you, and want to be romantic with you” because every other statement of the like so far has people crying or arguing about it as not enough either. 

These things are nice, but it is not the only way to deliver a textual romance. These are things we want and deserve, and people aren’t wrong for wanting them, the only wrong comes in deleting other text because it isn’t the style of text they want. 100% unhelpful.

Text in AV is complex. No matter how decontextualized people try to pretend this all is, throwing pasta at the wall and calling it an argument worth validating, AV media study doesn’t just incorporate social codes on shit like dialogue -- though anyone that applies those social codes wouldn’t be arguing anyway, as per my old post on that -- but visual language and TV literacy are a long studied topic and are just as relevant as understanding of textual/verbal language and having textual literacy. People trying to eschew these in the interest of favoring fanspaces to try to keep them equal within the canon, which is NOT what fandom space equality is supposed to be about, is just... lol. 

When that soap opera reporter that doesn’t even watch the show wandered in commenting on the full mise en scene of the 15.03 breakup being classical “Dark Point in the Romance” framing, that’s not subtext. In a book, characters aren’t running around on a blank canvas. Their environments are the text. 

What people may draw symbolically out of an environment varies, and if someone’s /interpretation/ holds up, that’s fine. But being able to digest the entire presentation of a work, that is to say, to read an entire scene in a book and understand their setting and the relevance of that setting is simply a form of text. And when literal fucking randos can spot classic cinematography, it’s time to consider what the full cinematic framework is telling you both in incremental minutiae of texts and in the full body of work.

So basically, I acknowledged lowkey text based on the most basic understanding of social codes, by 12.19, even if I was still kinda eyerolling about it. By 13.5/6, Castiel returned to Dean in something later echoed by Eileen for the zoom shot, but the rest of the arrangement was verbatim identical to the original ending of Swan Song with Lisa, with the only difference being “Never too late” wasn’t a verbal line, but an entire sound track they applied to highlight the scene.

Despite the Swan Song parallel ending reactives went up in arms about the fact that they weren’t having big romantic moments anymore and kinda failed to wrap braincases around the fact that the endgame reunion that was literally the ORIGINAL endgame shot, which ALSO didn’t include physicality (in fact, the text read, “this isn’t sexual at all. He’s a lost soul, and she’s his home” in the script for Lisa), and this dumbass fandom would go “SEE PROOF THAT MEANS THE TEXT MEANS IT WASNT SEXUAL AND HE JUST BECAME BEST FRIENDS THAT WAS HER BEDWARMER MAYBE SHE HAS COLD FEET AT NIGHT” and that’s not how this fucking WORKS. Common sense is NOT removed from fucking discussion and what sense is applied needs to be levelly-- again, social codes.

So at 13.5/6 I had considered it textually paramount to the original endgame arrangement. S14 was just... blatant ass domesticity. Dean got his happy ending. He had his family. He got his win, his everything. They spoke frequently in the kitchen -- only vaguely over cases, more slapping around idioms, eyerolling over barbarous eating, and occasionally discussing how to raise their son. In fact, if you look at non-research-non-casework S14 kitchen scenes I’m gonna let you sit there and map out what all those domestic moments in the heart of the kitchen was, minding 13.5/6. 

It was something gained. It was their life. And it was something to lose. 14.18 already advert framed it, we all saw it. Troubled family. People delete history of what is connected where to pretend “we” is vague or makes the romance any less of a canon piece and lmao guys 

And season 15 is their year long run where they’re spearheading a huge part of the plot and will be a critical final resolution.

Speaking of 13.5/6 and social codes, anyone remember that Jack hadn’t met Dave Mather and looked at one nonphysical picture of them and recognized “he’s her boyfriend”? SOCIAL CODES MEAN SHIT GUYS.

So there’s no magic moment. There’s S8/9 coding and subtext. There’s S12′s tape and other elements -- tape is just the easiest to nail down but several through the year tbh -- there’s S13′s Never Too Late, and all things that followed that in waterfall. There’s S14′s established domesticity with Castiel having essentially moved into the bunker, something that wasn’t even entirely established in S12 yet even if he was more frequent there than Carver era.

Without social codes, I could argue that “Dean loves pie” doesn’t actually mean he loves pie. In fact, I could argue those letters mean nothing, because basic social codes are what even give words meanings. Without them these are just squiggly lines on a screen. If I eschew social codes, I could take a “love me some pie” line from Dean and say it means he fornicates with children and make long convoluded excuses around it instead of the observable fucking fact that Dean fucking Winchester likes goddamn pie.

Waiting for your perfect personally dreamed magic moment for a landmark to call text generally disregards the full body of the text and merit of the work. The amount of time and effort this FUCKING shipping fandom has put into -- even Destiel shippers -- bashing down and calling blatant ass text subtext because it’s not the text they want -- just because they want to argue with people that threw the logic baby out with the destiel bathwater they thought was dirty -- it’s fucking embarrassing tbqh. Imagine if people’s competitive fandom BS was muted how anyone here would be addressing this body of text.

Like. “After Carver directed Misha to play Castiel as a jilted lover in season 9, Cain through S10 escalated it into Castiel as Colette, which was confirmed by both the author and actors, seating him as a lover, as Sam was Abel the brother; by season 11, pining and connected hearts becomes the driving theme of the show, repeatedly denounced both in text and showrunner commentary that it wasn’t Amara that was that romance, and instead, a different one rose; by season 12, domestic arguments were many, mixtapes were shared, coming into rooms and playing people for things secretly stashed under pillows were a hinging plot moment, by season 13 he was the Never Too Late Big Win as a far more powerful version of Lisa, by season 14 Castiel moved in, by season 15 their giant sacred marriage euchartist ceremonies on repeat are driving the entire body of the season while overtly making the straight pairing a secondary parallel to the primary Dean and Castiel pairing by 15.09 such as the AU scene, or the ending where they mimicked the same phrase, truncated by physicality. But anyone viewing this text is an adult not competing for their preferred fandom playbox to be considered in the text, and had eyeballs, saw Sam and Eileen were clearly courting, flirting, and/or romantically engaged for a long time before this.”

Can we hope for the equality in that, sure.  I want that, sure. That doesn’t erase all the other modes of text before that though. 

But there, I just addressed 4 consecutive seasons of storytelling as its stands in the critical themes, without breaking down the dozens of independent scenes themselves that have already been analyzed to death and yall have scorched in your eyeballs by now like angels have prophet names. 

I’ve seen people desperately, desperately try to reinterpret this text, or this story structure, in inconsistent ways that fall short. They’re never held accountable for their entire shit falling flat on their face, they just keep building new shit that falls on its face too and keep using it as a base. People can *interpret* ~text~ however they want. Anyone that tells you that “true text is inarguable” is either an idiot or selling you something for your subscription to their blog. Anyone CAN make any jackass interpretation of anything they want. 

So sure. You can make some nonsensical explanation around every core theme their relationship is shadowed by, removing all social codes and context from basic elements understood by adult human beings natively, whatever. You can take 200 pages writing around it and degaying it. Generally when I see this, I see unhinged, incomplete writings with no central thread, just a thousand disembodied excuses that don’t even make a story. They’re just that. Desperate excuses. Years of it at this point. And they’re free to /interpret the text like that/ if they want. But that’s their /interpretation/ of a /text/ and as-above generally in /intentional, willful, conscious denial and erasure of the basic social codes we all understand./

Just because they /can/ warp the most left field interpretation doesn’t make it not text. If I pulled an “I don’t know I can’t english suddenly” and threw those codes out the window that doesn’t mean that the shit doesn’t mean the shit it means just because it’s inconvenient to me lmao

And this isn’t necessarily at you, Nonnie, I just feel the need to expand on this because any single time I don’t nail down these conversational stakes, someone breezes through and intentionally hotboxes the conversation to go down these very predictable manipulations and extremizations of the conversation that I really am far too tired to repeat the arguments raging in my mentions again, so I head ‘em off before the shit ever reblogs.

[inkandcamcorder]

Okidoki! This is my little theory post after watching the S7 trailer for The 100, I’ll probably add as I go and cancel or confirm as we watch.

As a little disclaimer, of course I know nothing for sure. If you see something that doesn’t make sense with the facts please let me know. Some of these may be completely wrong and probably most are. I’ve started this list from the fact that I believe the wormhole will let the mains go back in time, stopping te nuclear war or earth from going ka-boom or whatever it did at the time or during Praimfaya, and therefore they will erase themselves from existence. I don’t expect a happy ending but I’d still be happy if it were the case. Some of these are also repetitive or completely contradictory. Anyways, we’ll see! I’m also quite lazy so I often use initials to shorten the character’s names, I hope it’s clear enough! Obviously you’ll have seen many of these around, and some were inspired by what I’ve read on Twitter and over here of course!

I refer to the guys in the weird suits with the electric batons as the Big Human Menace, a.k.a BHM.

PS: I often mention “teams”. I don’t mean allegiance, I mean which plot line they’ll be allocated too as that many characters get split over different plot lines. Also sorry this is so long! I’m using it as a self tracker.

Here’s what I think we know from the trailer:

Jordan is going slightly creepy or cult-ish (not from the trailer but that weird look from S6),

Dyoza is in the Anomaly but alive.

Bellamy will cry & B & O will try to save one another through sacrifice.

Echo will cut her hair.

Madi will be threatened (by Russell I think).

Clarke will grieve her mom.

There’s a wormhole.

Raven and Clarke will team up and be close (and go on a mission to Nakara, the ice planet, with Jordan, Nate, Nylah, Gaia and Jackson I think? Hard to tell from the shots).

There will be skeletons.

Murphy and Emori will kick ass.

Murphy and Raven will team up.

Hope’s hair changes and she too is part of the team against the BHM.

Some guy bleeds.

Some girl screams. (I’ve seen people think it’s Raven, but that seemed unlikely to me).

Murphy get a gun put to his head.

Sheidheda (sorry about the spelling of it’s wrong!) is free. (S6)

Clarke points a fun to someone’s head (Russell I believe).

Hope screams behind a window, held by O next to C.

Echo screams.

There will be a sort of lab or torture chamber.

There seems to be a scene of Finn tied to the pole.

There’s some sort of flashback with Hope and Octavia.

There’s an icy planet, Nakara.

Bellamy should show up clean shaven at some point.

Gabriel is on the Echo plot team.

“I say live and let die.” - Murphy

There’s a change of plans for Echo and Gabriel.

O is on a white room, strapped down to a chair.

“If you fail, all our people are dead too.” (Bellamy to Clarke)

Echo is running after someone unconscious being taken (from the butt/cardigan it’s Bellamy).

Dyoza is seen holding O back.

A man is playing chess.

Russell says “we want peace”.

Here are the theories :

Jordan is going to lead a sort of rebellion for peace, similar to a cult, perhaps with him as a sort of priest.

Dyoza will be back in “The Garden” and try to get back to H and O, and will help with the Anomaly. She will eventually die - probably to save O (and/or H). They’ll be a recurring theme of “found family” between D, O and H. Probably in the hope to keep O & Bellamy from sacrificing themselves for each other or something similar.

Bellamy and Clarke will be separated for a third to half of the season.

Bellamy and Echo will be mainly on different plot lines (once she’s rescued him) - they will be apart. They will separate amicably and “always be family” or Echo will let him go (possibly before dying).

Echo will infiltrate the BHM.

Bellamy will be kidnapped and he and Madi will be used as bait for Clarke in different ways by different ennemies.

If any concrete Bellarke happens, it will be in the last two episodes, most likely only the finale. There might be some intense gazing or brushed aside lean-ins beforehand.

If they change the past, they’ll all die. If not, Clarke, Bellamy and possibly Murphy (and/or Raven) will die. Most of the mains really.

The wormhole will connect to Earth in the last allowing for revisits if plot points (perhaps Ton DC with the skeletons).

Raven and Co. will forgive Clarke (and who knows, maybe apologise? Crazy stuff).

Clarke will deal with Russel trying to rebel. She’ll threaten to burn him but as Jordan “cult” or whatnot rises, that will take a backseat. They’ll ally and Gaia will serve as an advisor. Jordan will say that he wants peace. Clarke will answer that “this is not the way” and “sacrifices must be made”. It will get out of hand (and perhaps made worse by Sheidheda interfering) and Jordan will realise the errors of his way. This will serve as a side plot while the Anomaly stretches out along the season and becomes the main plot towards the last third of the season as they search for a way to ensure humanity survives.

Sheidheda will finally be destroyed (by Clarke, with help from Gaia, Murphy and Raven).

Octavia’s death would supposedly unlock some sort of solution for the Anomaly, B will try to swap places. O sees it as her chance for redemption once more. D takes her place or something similar.

Clarke threatens Russel with a gun but doesn’t follow through.

Octavia and Gabriel will sleep together and develop *feelings* but D and H will always come first for O. Gabriel will die and say something along the lines of “as he should have a long time ago”.

Echo will go rogue to save the the day.

Jordan will rebel when Clarke decides to burn Russell.

Possibly, the BHM will come through the wormhole (hence the need for C & Co to go through it too - they’ll take a ship, which is where the scene with Hope flinging herself against the door screaming next to O and C will take place, though that could also be in the torture chamber area).

Echo will get caught and be tortured.

Murphy will get to convince Clarke not to choose violence.

Murphy and Emori will be quickly forgiven, but also reminded of their mistakes in a heated argument. They’ll use their newfound positions to lead in Sanctum.

If it’s not a time fix-up, Maddie will survive, along with Gaia.

Indra will die for Gaia and tell her she’s proud of her.

There will be some sort of human experiment.

One of the revisited part of time will be Finn’s death (perhaps leading to some Lexa archive footage being used).

During her time in the Anomaly, O will have basically raised and protected Hope, along with Dyoza, while never giving up hope to get back to Bellamy in any way possible. They’ll have been hunted by the BHM there too.

The wormhole will also lead to several other planets (which I believe is actually confirmed) - one of them might be a lot of water.

The bloodied guy will be an enemy of sort, possibly coming through the Anomaly, maybe tortured by Clarke and Co or Jordan’s follower though that’s unlikely. Probably by radiation/

While the others are on Nakara, Emori and Murphy deal with Sanctum and Jordan.

Murphy will take Jordan under his way in honour of Monty and Harper.

Echo will cut her hair for her mission as a way to be more incognito, the mission being likely the rescue mission to get Bellamy back, who was kidnapped by BHM.

They’ll explore the other planets, maybe in hopes of finding more human survivors or a safe heaven.

There’ll be parallel between Clarke in S7 and Bellamy in S6.

People will try to go in the Anomaly (Echo/Raven) but not all will be allowed in, or they’ll get split up.

Bellamy will probably be mentally tortured (possibly with a lonely/erased virtual reality).

Murphy will not want to go on the suicide mission (there might be a vote about it) but will go anyway for everybody’s sake in they want him to/need him.

The change of plans for Echo will be due to something linked to Bellamy - realising he’s about to get hurt, tortured, moved, is somewhere close, etc.

O will probably be part of the human experiment thing, probably during in the Anomaly, which is linked to the wormhole (possibly through its code that was on her back).

There will be, of course, some sort of apocalypse.

And a war.

There’ll be tons of S1 callback (maybe that underwater with the jellyfish is used as a callback for O in S1 in the lake?)

I think Jordan’s the person in the water with the jellyfish, and I don’t think he’s chilling because he probably can’t swim. So he fell by accident by using the wormhole or slipped or whatnot.

Octavia will act older as she has lived an extra 17-19 years in the Anomaly (which is part of her argument why she should die instead of Bellamy) and act rather weary as a result.

Possibly some sort of radiation issue? On Sanctum and/or back in past earth or a new planet.

They’re being hunted by the BHM who are coming through the Anomaly.

Russel has followers taking part in the Sanctum war.

The war will have to stop to unify against BHM and/or apocalypse.

There’s six symbols on the screen for the wormhole: 5 for Eligius as someone else very rightly pointed out (let me know if you recognise yourself, I remember reading it somewhere) the sixth one might be the BHM or something to unlock the wormhole?

Is the Anomaly absorbing or killing people and being used as a weapon, most likely by BHM? (Someone else remarked a skull in the green smoke).

Raven will get her red jacket back from a time travel. They’ll probably go back to Allie’s lab from S4 and get it back then.

Clarke is going to go a bit “dark” but will be brought back by her love for the Délinquents.

!Darke Clarke will be triggered by Bellamy’s disappearance.

If Sanctum survives, Russell will not die. He will not be murdered by Clarke.

There you go!

[bubbletimestories]

Don’t take him away from me (Irondad)

Summary: Tony is obsessed with Peter's disappearance and wants to bring him back at any cost. He moves away from his loved ones, sinks into depression and asks for Wong's help to save Peter.

Warnings: Major character death (?), sadness

Themes: death, father-son relationship, magic, hope, sacrifice, love, Saving Peter Parker

Translated with Google trad ^^’

**********************************************************************************

Ashes became a phobia for some, an obsession for everyone. They refused to cremate the dead, and chimney fires became rare even in the coldest winter. How could it have been otherwise?

“I’m sorry, Mr. Stark, but it’s impossible. As a guardian of the Sanctum, I cannot let you do it. ”

The whole world plunged into silence, as if the shock had taken people off the floor at the same time as their loved ones.

“We have to go ahead, Tony, to maintain a semblance of order. Take back your armour; we will be the Iron men. ”

A national mourning ceremony was organized when people ceased to hope. Captain America gave a long speech in memory of the missing, recalling that we had to keep courage, words without meaning, even for him. The world was not at war, it had lost without even being able to fight. They had failed. It was a month after the Purge.

________________________________________________________________

“The occult powers are not a toy, Mr. Stark, I cannot do anything for you. We all lost someone but that does not give us all the rights. I am sorry. ”

Bruce Banner embarked on research to understand where half of the Universe could have disappeared. He spent all his time there, perhaps to forget that he had lost a part of himself. But we had to face the facts: there was nothing to do, for Hulk as for the others. It was six months after the Purge.

________________________________________________________________

“Tony, you have to … that you stop feeling guilty about what happened. It was not your fault, it was nobody’s fault. Darling… ”

The remaining superheroes returned to service at the same time that the criminals woke up. A semblance of normality had returned, even though Absence was still strongly felt.

“No, Mr. Stark, I refuse to participate in that. The consequences are too uncertain, it is never good to play with life. We, guardians, learned it in pain. It’s no. ”

Thor had managed to find the survivors of Asgard and install them on a small planet to rebuild a kingdom, supported by Valkyrie and Korg. Despite his new responsibilities, he tried to return to see his friend as often as possible. Unfortunately, Point Break always found the genie in the same state: bitter, gnawed by guilt and obstinate not to see the truth. It was a year after the Purge.

________________________________________________________________

- Tony, that cannot continue. I cannot continue … to see you destroy youself. This obsession you have … It’s impossible.

Pepper looks at the impassive figure of the one she no longer recognizes, whom she cannot understand. She had tried with all her strength to support him, to push him forward, to overcome the horrors he had lived, but as much to speak to a wall.

The engagement ring tinkles on the glass table; this break up is different from the previous ones, it is an adieu. After taking a last look at the playboy, Pepper walks away to leave this room too dark, too quiet. Tony’s throaty voice suddenly stops her:

- Will you keep your word?

-Yes. If you succeed … he will officially be your heir.

She refrains from telling him once again that it’s madness. Oh what good would it be ? The door closes without Tony moving a centimetre. He knew it would happen, how could he blame Pepper after all he did? Somehow, it’s better that way, that they separate before…. he does what he has to do. Thoughtfully, he touches his side, where a long scar bears witness to the events of a year ago. A year already … and even more.

Outside, the sea crashes on the rocks under a stormy sky, as if the Sun itself was absent. Hard to believe he was hit by a moon… An umpteenth time, the superhero wonders how a single being could trigger so much chaos, so much suffering. But it’s no longer time to think about it, Tony Stark has never been one to feel sorry for himself, and he’s not going to start today. Not now that Wong has yielded.

The billionaire genie finally gets up, surprises his reflection in the bay window, the drawn features, the hair where pierce some silver threads, and especially his eyes surrounded where shines a flame of determination almost disturbing. To mourn, he can’t, not totally. Not while May Parker hates him. And rightly so: he was supposed to protect her nephew. Every day for months, she pursued him with her anger, her hate, and her sorrow, like a more seductive harpy. It was reminiscent of Tony Stark’s memories of Sokovi’s bitter victory and collateral damages. At the time, he wanted to use the government to fix his mistakes. It was not enough. He did not feel involved enough but today it’s different, he’s ready for anything.

The rain begins to fall while the man in armour joins the Sanctum of New York whose window shines like a gigantic eye watching over the city. Memories come back, his meeting with a man he could not know very long but who resembled him on many points. He, perhaps, has found a way to not die, floating for eternity in a parallel dimension.

- I’m sure your friend teleported to a beach in the Pacific, Wong. He looked smart enough for that.

Tony walks in the door, arranges his rain-soaked hair until the wizard deigns to arrive. It does not take long before he appears, frowning as usual, living figure of disapproval.

- You should refrain from this kind of joke or I may change my mind.

- I just made a guess, no need to come to the threat.

Wong does not answer anything, guides his guest through a series of corridors, the sound of their footsteps choked by oriental rugs. However, the mystic librarian ends up breaking the silence, visibly worried.

- Are you sure you want to do that?

Silly question, it’s been more than a year since the billionaire harassed him without his determination ever faltering and yet, Wong listed the risks more than once. But he supposes that for Tony Stark, life is a gigantic bet. His host does not even bother to answer, it’s so obvious. When the kid di …when he disappeared, it was as if he had taken some of his mentor with him, something broke and the man in armour wanted only one thing: bring him back whatever it costs. Banner told him it was hopeless, Captain asked him to mourn, but it was impossible. When it was not May who was shouting her hate, he saw the teenager’s face in his nightmares. Now he has planned everything. Pepper will run the business until he’s ready, Rhodey will look after him and train him with the other heroes, Banner will take care of the scientific part … He’s been thinking about it for months now and now that Wong has accepted, he will be able to bring back Peter. Wherever he is.

Where Tony expects to see incense, bones, mysterious symbols, in short, all the paraphernalia of resurrection, he finds only one manuscript and the master of the mystical arts donning a double ring. It would not be Wong, you could think of a scam.

- You’ll only have a few minutes to find it. After that, you will both be lost.

- Oh, I thought you were going to announce bad news ..., jokes Tony with a smile but without the spark of irony that always lit his eyes once. Not really knowing what else to do, he stands in front of the librarian, waiting, noting that the wizard carefully avoids his eye with emotion. It would be almost touching.

Wong takes a breath and circles in the air with his fingertips, articulating inaudible words for the man in front of him. This could be any teleport spell at first. But the sparks are usually of a color of fire and not of a deep blue, what we see through the portal is not a gigantic dark expanse. Tony stares for a moment, hoping to see something, a silhouette or even a shape but nothing stands out in the dark.

“Mr. Stark, is it too late to go to the bathroom?»

He probably would have said something like that … if he had been there.

To think thus of the teenager revives the determination of the hero, a moment frozen by apprehension, he turns to Wong to send him a last salute.

- Thank you very much and above all, take care of him. I do not want to have to come and kick your ass.

And without waiting for the answer of the wizard, he crosses the portal quickly, no hesitating anymore.

When Tony Stark had imagined this moment, he had envisioned an intense cold, the same that takes us when we die. But on the other side of the mirror, there is neither cold nor heat, only emptiness and an absence of sensations. All around the billionaire, a deafening silence spreads into the darkness, as if there was nothing else in the world than this visitor. After the shock of discovery, Tony decides to move forward, heart beating and thinking only of the one he must find at any cost. Under his feet, the ground is wrinkled like the surface of a pond but the billionaire is not careful, focused on his mission.

- Underoos !

His voice pierces the ambient calmness, scatters in the void before the silence falls. It is then that a pale color task is formed a few meters from the Avenger, blurry but very real, standing out against the dark background. Gradually, the task becomes clearer, as if you were focusing on it. Peter looks around him, a picture less and less flickering with each heartbeat. Looking as after a long sleep, he blinks, tries to understand where he is. On his face passes a flood of emotions as he remembers his last moments, the battle, the defeat, his death. His whole body trembles and he curls up, hiding nothing of his fear because he believes himself alone, lost forever. My god, he’s dead … so it looks like this after?

Tony slowly approaches the teenager, losing nothing of the confusion that moves him and makes him blind to what surrounds him. He kneels right in front of him, stroking his hair like a little child, making him jump.

- Mr Stark?!

The large hazel eyes express both surprise and immense joy in recognizing their hero and this reaction expresses such innocence that Tony’s heart is tightening. It is because of him that the little one suffers all this … but this ordeal ends, he will go home.

- It’s over…

Without really knowing why, Peter feels he can reassure himself, that his mentor has found a solution and that he can trust him. It’s Iron Man, he always succeeds.

The seconds go by and Tony knows they do not have a lot of time before … being separated again. Then he draws the young man against him, serves him in his arms with more emotion than he would like. No door to open to serve as an excuse, it is a real hug this time. Taken by surprise, Peter does not react immediately as this gesture seems strange to him on the part he admires. Then he puts his arms around him, gives him back his embrace, burying his face against the scarred chest. Nightmares can’t reach him now, everything will be better.

The portal reopens too early, far too early for Tony’s taste. Seeing the sapphire sparks, his first movement is to squeeze the boy closer to his heart, so that they will never be separated again. Then he regains his composure, pushes Peter aside to look into his eyes.

- You’re going home now. Your aunt must make a blood of ink.

- Mr Stark?

Something in the attitude of his mentor worries suddenly the teenager who scans the face of Tony in search of an explanation. It is at this moment that Wong passes his arms through the portal to catch the young man and pull him towards him. Reflexively, Peter clings to the arm of his hero, suddenly sensing that they will be separated.

- No, Mr Stark!

Tony smiles painfully, hoping to be a little reassuring even though he’s never been good at these things.

-It will be fine.

And with a sharp gesture, he recoils to let go of his protégé who screams, tears in his eyes.

-Dad!

The portal closes on him, leaving Tony Stark in the dark, alone but reassured. Now, the little one is safe.

[drsilverfish]

DrSilverfish S14 Meta Masterpost

Well, what a wild ride S14 has been. An extremely rich season for meta, and one of the best seasons of the show, ever (in my view, YMMV). It’s been a blast sharing it with all of you, week by week, on the hoof. Thanks for all the discussion, shared sleuthing and musing, gifs, art, fic, meta and more. 

And thanks also to all the readers of, and commenters on, this blog. Reading the tags and replies on Tumblr is still one of the best things. 

High points? The writers’ room’s use of mythology (Greek, Biblical, folktale) this season has been rich and satisfying, but in particular their borrowing of Jung’s psychological drama of the encounter between the Self and the Shadow-self, and his interpretation of alchemical writing as representative of the journey of the psyche towards self-integration (for the alchemists, the journey of the soul to God) has been really beautifully crafted. 

Also, all the call-backs to previous seasons and episodes of the show, as part of Dabb’s Ouroboros narrative, used to shed light both on the past and the present; even down to matching the call backs numerologically for more snake-swallowing-its-own-tail symmetry. 

Stand out episode for me was 14x14 Ouroboros. Steve Yockey is a kick-ass writer and a master of subtext. Noah Ophis the Queer Gorgon was not only a fabulous queer villain but the call-back to Nick the Siren and 4x14 Sex and Violence really reflected on and demonstrated the show’s evolution, as we near the end of the spiral (it’s ages since any female characters have been called a “bitch” or a “whore” for one thing - phew).

Also a shout-out to Meredith Glynn’s 14x08 Byzantium for its lovely re-encounter re Castiel’s relationship to Heaven, his heart-crushing (and uber fairy-tale romantic) deal with The Shadow, as well as for revisiting the awesome Lily Sunder and adding Anubis to the SPN God-machine! 

And to Davy Perez 14x11 Damaged Goods for the most subtextually obvious but also tragically heart-breaking, reference to the Ma’lak box as the closet, thanks to Dean showering sparks all over Donna’s 1970s cowboy porn poster collection whilst building it. 

Andrew Dabb and Meredith Glynn’s 14x13 Lebanon was excellent too; lovely script, outstanding performances from the original Winchester family, a beautiful little side-meditation on who Castiel would have been, if he hadn’t raised Dean from perdition, and some more alchemical symbolism via the “pearl of great price” (AKA the Philosopher’s Stone). 

Meghan Fitzmartin and Yockey’s 14x15 Peace of Mind, was also stand-out, for its biting satire both of MAGA and Heaven, its hilarious whammied Sam (truly one of Jared’s great performances, up there with his Lucifer in The End) and its lashings of queer subtext (from Dean’s fascination with, and anxiety about,  the “snake”, to Castiel’s mirrored heavy improv involvement with Sunny’s dick-worshiping erotic epistles). 

Finally, Dabb and Sgriccia delivered a gorgeously shot, and epic, finale in 14x20 Moriah, the culmination of Dean’s long and painful encounter with the internalised Ghost of John Winchester in his psyche, as he faced, Ouroboros style, a yellow-eyed “monster” who had (apparently) killed Mary Winchester (again) and THE Father, ordering him to continue his own father’s revenge cycle. Chuck Shurley, avatar of God, ultimate dead-beat Dad and author of the SPN multi-verse, is set up to be the meta villain for the final season, as his characters struggle for true free will. 

Here’s hoping MIRROR UNIVERSE and all those zombies busting out of their graves are indeed a giant neon metaphor for the culminating revenge of SPN’s eternal queer subtext.    

Low-point of the season; re-fridging Mary Winchester as part of the Ouroboros narrative, even though Glynn and Berens handled her “death” episodes (14x17 and 14x18) beautifully. Re-staging the drama of Azazel, fathers and sons, as part of the story spiral was, of course, irresistable, and profound for our male hero characters; I get it. But, as I am still convinced this is a fake-out, Mary is not really dead, and we will see her again (see my meta from 14x17 onwards) I’m willing to wait before I write my final meta on the show’s relationship to the feminine principle (spoiler alert, a load of suckage along the way, with the possiblity for a, somewhat contingent, writers’ room redemption arc!). I am hoping both Amara, as the feminine God-principle, and Mary (they are already fundamentally linked) will return in the culmination of the narrative. Symbolically, even given this is, indelibly, a narrative about men and the bonds between them, that return of/ integration with the feminine would be the alchemical and Jungian culmination of the journey, and I’m hoping that’s what Dabb is going deliver; via Jack (Hermes/ Mercury) as the mediating principle.  

As I’m sure you all are, I’m in equal measure gutted and excited that S15 is to be the final turn of the spiral. 

Look forward to sharing all the highs and the lows, as TFW go up against Chuck Almighty himself, with Death, The Empty and metaphysical key Jack Kline Novak Winchester in the mix.  

All my meta of the season (with thanks to many of you for enlightening and fun discussion) under the cut this time, because there’s a LOT!:

1) Stranger in a Strange Land (14x01)

http://drsilverfish.tumblr.com/post/178991484844/stranger-in-a-strange-land-14x01

2) Queer Gods and Monsters (14x02) 

http://drsilverfish.tumblr.com/post/179226151009/queer-gods-and-monsters-14x02

3) Dramatic Irony and Castiel in 14x02

http://drsilverfish.tumblr.com/post/179277272094/dramatic-irony-and-castiel-in-14x02-gods-and

4) Jack and Killing Dean in 14x02 (parallels with Dean and Killing Jack in 13x02 The Rising Son)

http://drsilverfish.tumblr.com/post/179430025509/spookyboysam-and-that-means-that-dean-dies-too

5) 14x03 The Scar - Dean Confronts Dark!Kaia (Dopplegangers, Mirrors and John Winchester’s Ghost)

http://drsilverfish.tumblr.com/post/179463975289/shirtlesssammy-14x03the-scar-meta-writers 

6) Batman vs Superman: Connection and Conflict in Mint Condition (14x04) (Plus more John Winchester’s Ghost)

http://drsilverfish.tumblr.com/post/179699654684/batman-vs-superman-connection-and-conflict-in

and some added discussion and further meta with @dimples-of-discontent

http://drsilverfish.tumblr.com/post/179735406854/batman-vs-superman-connection-and-conflict-in

7) Nightmare Logic (14x05) The Winchester Family Crypt

http://drsilverfish.tumblr.com/post/179938583519/nightmare-logic-14x05-the-winchester-family

8) Uhmmn... 14x05′s Text Reference Is...? (Nightmare Logic) 

http://drsilverfish.tumblr.com/post/179940786549/uhm-14x05s-text-reference-is 

and some added discussion and further meta (on Dean and the bi-dent) with @paperwhitenarcissus

http://drsilverfish.tumblr.com/post/179975186264/uhm-14x05s-text-reference-is 

9) 14x05 Nightmare Logic and 13x14 Good Intentions - Dean’s Wardrobe Parallels -  a discussion with @postmodernmulticoloredcloak

http://drsilverfish.tumblr.com/post/179943183099/postmodernmulticoloredcloak-do-you-think-its

10) Inside Dean’s Head - 14x03 The Scar and 14x05 Nightmare Logic

http://drsilverfish.tumblr.com/post/179944031049/inside-deans-head 

11) 14x06 Optimism - Cock Meta (end comment on a multi-authored discussion)

http://drsilverfish.tumblr.com/post/180184985249/14x06-cock-a-doodle-doo

12) 14x06 Optimism - a discussion with @postmodernmulticoloredcloak

http://drsilverfish.tumblr.com/post/180201135789/postmodernmulticoloredcloak-drsilverfish

13) 14x08 Byzantium (Castiel’s Relationship with Heaven)

http://drsilverfish.tumblr.com/post/180903052874/byzantium-14x08

14) The Shadow 14x08 (first in a series of meta on the Jungian themes of S14)

http://drsilverfish.tumblr.com/post/180906003584/the-shadow-14x08

15) 14x09 The Spear (wounds, penetrations, scars: Destiel)

http://drsilverfish.tumblr.com/post/181057197034/guysjust-hold-hands-already-protective

16) 14x09 The Spear (Jungian Decoder Ring Edition) (second in a series of meta on the Jungian themes of S14)

http://drsilverfish.tumblr.com/post/181122764984/14x09-the-spear-jungian-decoder-ring-edition

17) 14x09 The Spear: Ode to Joy

http://drsilverfish.tumblr.com/post/181170752319/14x09-the-spear-ode-to-joy

18) The Dean/ Cas Spiral Narrative - S13 and 14 Edition (so far)

http://drsilverfish.tumblr.com/post/181231154654/the-dean-cas-spiral-narrative-s13-and-14-edition

19) Pamela Barnes in Nihilism (14x10)

http://drsilverfish.tumblr.com/post/182118505974/pamela-barnes-in-nihilism

20) AU!Michael and the Closet (14x10)

http://drsilverfish.tumblr.com/post/182120562849/aumichael-and-the-closet

21) Rocky’s Bar: A Closer Look in Dean’s Mind (14x10) 

http://drsilverfish.tumblr.com/post/182142619479/rockys-bar-a-closer-look-in-deans-mind-14x10

22) Are You There, God? It’s Me, Dean Winchester (S11 Parallels - Jungian meta adjacent)

http://drsilverfish.tumblr.com/post/182150404304/are-you-there-god-its-me-dean-winchester

23) Pamela, The Guardian (this is actually @shirtlesssammy ‘s great meta, to which I added something on Pamela as Dean’s psychopomp and anima - Jungian meta adjacent) 

http://drsilverfish.tumblr.com/post/182196788399/pamela-the-guardian-in-14x10

24) What the Light and Shadow Tells Us (some meta on the S14 promo poster and S13 and 14′s use of light and shadow - Jungian meta adjacent)

http://drsilverfish.tumblr.com/post/182257314199/what-the-light-and-shadow-tells-us

25) A Fridge-Locker, An Enochian Puzzle-Box, and the Closet (14x11 Damaged Goods) 

http://drsilverfish.tumblr.com/post/182303909819/a-fridge-locker-an-enochian-puzzle-box-a-malak 

with some additional discussion with @magnificent-winged-beast and @verobatto-angelxhunter on subtext, canon and the show’s own closet:

http://drsilverfish.tumblr.com/post/182375754379/a-fridge-locker-an-enochian-puzzle-box-a-malak

26) Jung and Dean’s Journey Towards Self-Integration in 14x11 Damaged Goods (third in a series of meta on the Jungian themes of S14) 

http://drsilverfish.tumblr.com/post/182299438269/jung-and-deans-journey-towards-self-integration

27) Damaged Goods (14x11) 

http://drsilverfish.tumblr.com/post/182307242539/damaged-goods-14x11

28) Cosmic Order and Entropy: What’s Death’s Game? (14x11) 

http://drsilverfish.tumblr.com/post/182350642244/cosmic-order-and-entropy-whats-deaths-game

and some additional discussion with @emblue-sparks

http://drsilverfish.tumblr.com/post/182380817269/cosmic-order-and-entropy-whats-deaths-game 

29) The Riddle of the Sphinx: 14z12 Prophet and Loss (a guest meta for @metafest ) (including more on the Ghost of John Winchester - Jungian meta adjacent)

http://drsilverfish.tumblr.com/post/182482293379/the-riddle-of-the-sphinx-14x12-prophet-and-loss

and some additional meta and discussion with @verobatto-angelxhunter

http://drsilverfish.tumblr.com/post/182487467794/the-riddle-of-the-sphinx-14x12-prophet-and-loss

and some more with @emblue-sparks

http://drsilverfish.tumblr.com/post/182501242824/the-riddle-of-the-sphinx-14x12-prophet-and-loss

30) Ouroboros in Prophet and Loss (14x12) (fourth in a series of meta on the Jungian themes of S14) 

http://drsilverfish.tumblr.com/post/182486474324/ouroboros-in-prophet-and-loss-14x12

31) Dr. Sexy of the Lord in Prophet and Loss

http://drsilverfish.tumblr.com/post/182501242824/the-riddle-of-the-sphinx-14x12-prophet-and-loss

plus self--reblog with more on the “Dr. Novak” alias

http://drsilverfish.tumblr.com/post/182538453119/dr-sexy-of-the-lord-in-14x12-prophet-and-loss

32) A Pearl of Great Price - 14x13 Lebanon (fifth in a series of meta on the Jungian themes of S14) 

http://drsilverfish.tumblr.com/post/182660472289/a-pearl-of-great-price-14x13-lebanon

with some additional discussion and meta with @mittensmorgul and @paperwhitenarcissus

http://drsilverfish.tumblr.com/post/182667170284/a-pearl-of-great-price-14x13-lebanon

33) 14x13 Lebanon - Some Silent Storytelling Notes on the Pawn-Shop

http://drsilverfish.tumblr.com/post/182666922119/14x13-lebanon-some-silent-storytelling-notes-on

34) The Bruise as a Kiss: Cinematic Queerness and the Violence Between Dean and Cas in 14x13

http://drsilverfish.tumblr.com/post/182669190399/the-bruise-as-a-kiss-cinematic-queerness-and-the

35) An Angel, and Lucifer’s Kid? Queer-Coding and Dean’s “Found Family” in 14x13 Lebanon

http://drsilverfish.tumblr.com/post/182794294534/an-angel-and-lucifers-kid-queer-coding-and

36) Movie Poster Meta for 14x13 (end note to a multi-authored discussion with @paintmeahero @mittensmorgul @shirtlesssammy @justanotheridijiton )

http://drsilverfish.tumblr.com/post/182843848469/paintmeahero-shirtlesssammy-mittensmorgul

37) Old Timey SPN: A Fresh (Queer) Look at 4x06 Yellow Fever

http://drsilverfish.tumblr.com/post/182874642184/old-timey-spn-a-fresh-queer-look-at-4x06

38) 14x14 Ouroboros Promo: Procrustes Greek Myth Meta-Spec (part of a discussion with @mittensmorgul @postmodernmulticoloredcloak - Jungian meta adjacent)

http://drsilverfish.tumblr.com/post/182991822784/mittensmorgul-postmodernmulticoloredcloak 

39) The Man Who Would Be King - Edlund’s Literary Allusion and 6x20

http://drsilverfish.tumblr.com/post/183118270999/the-man-who-would-be-king-edlunds-literary

40) 14x14 Promo Meta Spec (a discussion with @elizabethrobertajones and @hum-bee - started Destiel, became @hum-bee ‘s meta on Castiel’s depression, then mine on the separate, but related, queer subtext narratives for Dean and Cas this season) 

http://drsilverfish.tumblr.com/post/183246356449/dean-is-getting-better-at-communicating

41) The Kiss of the Queer Gorgon in 14x14 Ouroboros

http://drsilverfish.tumblr.com/post/183323000224/the-kiss-of-the-queer-gorgon-in-14x14-ouroboros 

42) The Serpent and the Egg: Snake and Eye Symbology in 14x14 Ouroboros (sixth in a series of meta on the Jungian themes of S14)

http://drsilverfish.tumblr.com/post/183327000184/the-serpent-and-the-egg-snake-and-eye-symbology

43) Perseus, Jack and the Gorgon in 14x14

http://drsilverfish.tumblr.com/post/183337497344/perseus-jack-and-the-gorgon-in-14x14

44) The Siren and the Gorgon 4x14 and 14x14

http://drsilverfish.tumblr.com/post/183342830074/the-siren-and-the-gorgon-4x14-and-14x14

And with an addition:

http://drsilverfish.tumblr.com/post/183368457514/the-siren-and-the-gorgon-4x14-and-14x14

45) Noah Ophis 14x14 (Meanings and the name of the Gorgon)

http://drsilverfish.tumblr.com/post/183363993019/noah-ophis-14x14

And some further discussion with @justanotheridijiton and @mittensmorgul

http://drsilverfish.tumblr.com/post/183370426434/noah-ophis-14x14 

46) Another Alchemical Easter Egg in 14x14 (seventh in a series of meta on the Jungian themes of S14)

http://drsilverfish.tumblr.com/post/183388134889/another-alchemical-easter-egg-in-14x14

Plus additions and discussion with @mittensmorgul  and @trickster-archangel :

http://drsilverfish.tumblr.com/post/183876036674/another-alchemical-easter-egg-in-14x14

47) The Justin Smith/ Dean Smith Ouroboros (14x15 and 4x17)

http://drsilverfish.tumblr.com/post/183497401344/the-justin-smith-dean-sm)ith-ouroboros 

with additional discussion with @mittensmorgul @a-bit-of-influence @verobatto-angelxhunter and @magnificent-winged-beast :

http://drsilverfish.tumblr.com/post/183520934439/the-justin-smith-dean-smith-ouroboros

48) Yellow Fever Redux in 14x15 Peace of Mind

http://drsilverfish.tumblr.com/post/183498528974/yellow-fever-redux-in-peace-of-mind-14x15

and with additional discussion with @magnificent-winged-beast and @verobatto-angelxhunter

http://drsilverfish.tumblr.com/post/183507216399/yellow-fever-redux-in-peace-of-mind-14x15

49) Oranges are not the Only Fruit (part of a multi-authored discussion with @postmodernmulticoloredcloak and @verobatto-angelxhunter )

http://drsilverfish.tumblr.com/post/183505777909/verobatto-angelxhunter-drsilverfish 

50) Do Snakes Like Bacon? (Queer-Coding) (14x15)

http://drsilverfish.tumblr.com/post/183505636319/celestialdean-do-snakes-like-bacon-bacon-and 

51) The Satire in Charming Acres (14x15)

http://drsilverfish.tumblr.com/post/183526003969/the-satire-in-charming-acres-14x15-peace-of-mind 

52) The Book of Life in Donatello’s Kitchen (14x15) with thanks to @postmodernmulticoloredcloak for the heads up!

http://drsilverfish.tumblr.com/post/183528415774/postmodernmulticoloredcloak-look-what-i-found-in

53) “AU” Past Episode References in 14x15 Peace of Mind (and the Theme of Fate vs Free Will)

http://drsilverfish.tumblr.com/post/183549410559/au-past-episode-references-in-14x15-peace-of

and with an addition thanks to @mittensmorgul

http://drsilverfish.tumblr.com/post/183568337094/au-past-episode-references-in-14x15-peace-of 

54) A Call-Back to 4x01 in 14x15 (this is an addition to a meta by @poorreputation about Charming Acres as a Metaphor for Heaven)

http://drsilverfish.tumblr.com/post/183570660759/spn-14x15-peace-of-mind-heaven-and-charming

55) The Bird Represents God (14x15) (an addition/ discussion on bird poop to @verobatto-angelxhunter ‘s S14 meta-spec master-post)

http://drsilverfish.tumblr.com/post/183582551424/my-supernatural-season-14-specs-in-one 

56) Dean Made me Watch the Lost Boys Like 20 Times (14x16 Don’t Go in the Woods)

http://drsilverfish.tumblr.com/post/183635993619/dean-made-me-watch-the-lost-boys-like-20-times

57) The Ghostfacers in 14x16

http://drsilverfish.tumblr.com/post/183638151784/the-ghostfacers-in-14x16

58) The Kohonta, The Wendigo and..... The Winchesters? Cannibalism in 14x16

http://drsilverfish.tumblr.com/post/183640736269/the-kohonta-the-wendigo-and-the-winchesters 

59) More Musings on the Signifiance of Bird Poop in 14x16 with @elizabethrobertajones @mittensmorgul and @neven-ebrez

http://drsilverfish.tumblr.com/post/183648898244/elizabethrobertajones-five-p-m

60) Lucifer Rides Again?.... Games Within Games in 14x17 Game Night

http://drsilverfish.tumblr.com/post/183968888069/lucifer-rides-again-games-within-games

61) A Discussion on Alchemy and the Season’s End with @occamshipper

http://drsilverfish.tumblr.com/post/183972692154/thoughts-for-absencemoriah

62) Sixteenth Century Burmese Blood Rubies (14x17)

http://drsilverfish.tumblr.com/post/183973554064/sixteenth-century-burmese-blood-rubies-14x17

63) Cindy’s Waffle House in 14x17

http://drsilverfish.tumblr.com/post/183990322609/cindys-waffle-house-in-14x17

64) Nick’s Spell in 14x17 (A Bit of Body-Snatching Spec)

http://drsilverfish.tumblr.com/post/183991533929/nicks-spell-in-14x17-a-bit-of-body-snatching

65) Castiel and Food: A Discussion with @bluestar86 and @tinkdw (14x17)

http://drsilverfish.tumblr.com/post/183993473339/this-episode-again-reminding-us-that-angels-can

66) Is Anael in League with Satan?: A Discussion with @postmodernmulticoloredcloak  

http://drsilverfish.tumblr.com/post/184019357044/postmodernmulticoloredcloak

67) The Scapegoat: Speculative Musings on S14′s End (Moriah) (Linked to the Season’s Jungian Themes - Scapegoating and the Unacknowledged Shadow)  (eighth in a series of meta on the Jungian themes of S14)

http://drsilverfish.tumblr.com/post/184045009309/the-scapegoat-speculative-musings-on-s14s-end

with an additional note:

http://drsilverfish.tumblr.com/post/184068368304/the-scapegoat-speculative-musings-on-s14s-end

68) You Can Still Be a Cookie-Baking, Cardigan-Wearing Big Softie Without a Soul (14x17 Game Night)

http://drsilverfish.tumblr.com/post/184063447919/you-can-still-be-a-cookie-baking-cardigan-wearing

69) Dutch Camera Angles in 14x17 - A Discussion with @mittensmorgul

https://drsilverfish.tumblr.com/post/184117004089/mittensmorgul-i-was-just-thinking-of-all-the

70) 14x18 Absence: The Games Continue? (14x18)

https://drsilverfish.tumblr.com/post/184131452324/14x18-absence-the-games-continue 

with additional discussion with @shirtlesssammy

https://drsilverfish.tumblr.com/post/184140015899/14x18-absence-the-games-continue

71) Re-Fridging Mary Winchester: The Ouroboros Narrative Swallows its Origin Story (14x18 Absence)

https://drsilverfish.tumblr.com/post/184188830889/re-fridging-mary-winchester-the-ouroboros

72) Dean Would Never Tell Cas He Was Dead To Him (14x18 - end comment on dramatic irony on a post by @superduperdestiel33 )

https://drsilverfish.tumblr.com/post/184158399039/dean-would-never-tell-cas-that-he-was-dead-to-him

73) Jack, Godstiel and Jesus Parallels - A 14x19 Promo Discussion with @trickster-archangel (Jungian meta adjacent)

https://drsilverfish.tumblr.com/post/184165716364/trickster-archangel-i-was-watching-the-promo

74) A Spec Discussion on the Snake, Chicken and Egg Story (14x14) in Relation to Jack and 14x19 Jack in the Box and 14x20 Moriah with @neven-ebrez and @mittensmorgul

https://drsilverfish.tumblr.com/post/184234111884/neven-ebrez-neven-ebrez-mittensmorgul

75) A Pillar of Salt in 14x19 Jack in the Box

https://drsilverfish.tumblr.com/post/184302344489/a-pillar-of-salt-in-14x19-jack-in-the-box

and with addition discussion with @postmodernmulticoloredcloak

https://drsilverfish.tumblr.com/post/184305778829/a-pillar-of-salt-in-14x19-jack-in-the-box

76) Hallucifer or Lucifer? (14x19 Jack in the Box)

https://drsilverfish.tumblr.com/post/184303628429/hallucifer-or-lucifer-14x19

77) The Wraith at Mary’s Funeral (14x19) (end comment on a discussion with @mittensmorgul and @postmodernmulticoloredcloak )

https://drsilverfish.tumblr.com/post/184305430244/hi-mittens-im-not-understanding-what-the-point 

78) “So, Who’s Ready to Take on The Book of Samuel?” (14x19  Jack in the Box)

https://drsilverfish.tumblr.com/post/184308630909/so-whos-ready-to-take-on-the-book-of-samuel 

79) A Discussion on Dean and Cas and Chuck and Faith (14x19) with @norahastuff

https://drsilverfish.tumblr.com/post/184325713124/norahastuff-drsilverfish-norahastuff-you

80) Mary is Watching Over You.... From a Mirror Universe? (14x20 Moriah)

https://drsilverfish.tumblr.com/post/184458723054/mary-is-watching-over-you-from-a-mirror

81) Fate vs Free Will - “Welcome to the End” (14x20 Moriah)

https://drsilverfish.tumblr.com/post/184462086934/fate-vs-free-will-welcome-to-the-end-14x20

with additional discussion with @emblue-sparks

https://drsilverfish.tumblr.com/post/184465647879/fate-vs-free-will-welcome-to-the-end-14x20

82) More Bird-Poop Meta: A Discussion with @trickster-archangel

https://drsilverfish.tumblr.com/post/184501155254/trickster-archangel-it-just-occurred-to-me

83) “MIrror Universe” Meanings (14x20)

https://drsilverfish.tumblr.com/post/184491569414/mirror-universe-14x20

with additional discussion with @trickster-archangel and @occamshipper 

https://drsilverfish.tumblr.com/post/184508555094/mirror-universe-14x20

84) Dean’s Jungian Shadow Arc in S14: Confronting the Internal Father (2x22 to 14x20 Moriah) (ninth in a series of meta on the Jungian themes of S14)

https://drsilverfish.tumblr.com/post/184507150574/deans-jungian-shadow-arc-in-s14-confronting-the

85) Jack Kline Novak Winchester: Son, TFW Mirror, Trinity and Key; Quaternity, Ouroboros, Caduceus and Harbinger of The End (14x20) (tenth in a series of meta on the Jungian themes of S14)

https://drsilverfish.tumblr.com/post/184542079054/jack-kline-novak-winchester-son-tfw-mirror

86) So Who Has Been Resurrecting Castiel? (Post 14x20 Musings)

https://drsilverfish.tumblr.com/post/184558105759/so-who-has-been-resurrecting-castiel-post-14x20

and with added discussion with @mittensmorgul

https://drsilverfish.tumblr.com/post/184570379724/so-who-has-been-resurrecting-castiel-post-14x20

87) Chuck and Reno (14x20 plus S15 Spec on Chuck and Amara - end comment on a discussion by @tarend and @hi-im-dazey

https://drsilverfish.tumblr.com/post/184580452909/chuck-and-reno

POST-SCRIPT!!!

All My Meta on the Jungian Themes of S14 Collected Together in a 10 Part Series:

1) The Shadow 14x08 

http://drsilverfish.tumblr.com/post/180906003584/the-shadow-14x08

2) 14x09 The Spear (Jungian Decoder Ring Edition) 

http://drsilverfish.tumblr.com/post/181122764984/14x09-the-spear-jungian-decoder-ring-edition

3) Jung and Dean’s Journey Towards Self-Integration in 14x11 Damaged Goods 

http://drsilverfish.tumblr.com/post/182299438269/jung-and-deans-journey-towards-self-integration

4) Ouroboros in Prophet and Loss (14x12) 

http://drsilverfish.tumblr.com/post/182486474324/ouroboros-in-prophet-and-loss-14x12

5) A Pearl of Great Price - 14x13 Lebanon 

 http://drsilverfish.tumblr.com/post/182660472289/a-pearl-of-great-price-14x13-lebanon

6) The Serpent and the Egg: Snake and Eye Symbology in 14x14 Ouroboros 

http://drsilverfish.tumblr.com/post/183327000184/the-serpent-and-the-egg-snake-and-eye-symbology

7) Another Alchemical Easter Egg in 14x14 

http://drsilverfish.tumblr.com/post/183388134889/another-alchemical-easter-egg-in-14x14 

8) The Scapegoat: Speculative Musings on S14′s End (Moriah) (Linked to the Season’s Jungian Themes - Scapegoating and the Unacknowledged Shadow) 

http://drsilverfish.tumblr.com/post/184045009309/the-scapegoat-speculative-musings-on-s14s-end

9) Dean’s Jungian Shadow Arc in S14: Confronting the Internal Father (2x22 to 14x20 Moriah)

https://drsilverfish.tumblr.com/post/184507150574/deans-jungian-shadow-arc-in-s14-confronting-the

10) Jack Kline Novak Winchester: Son, TFW Mirror, Trinity and Key; Quaternity, Ouroboros, Caduceus and Harbinger of The End (14x20) 

https://drsilverfish.tumblr.com/post/184542079054/jack-kline-novak-winchester-son-tfw-mirror

[nellie-elizabeth]

Supernatural: Proverbs 17:3 (15x05)

Ooh the parallels! The meta! The heavy-handed foreshadowing, and then the acknowledgment of said heavy-handed foreshadowing. And Lilith! Let's dive in.

Cons:

I've talked about this before, and I think it's pretty standard criticism of Supernatural, but it's still kind of funny to me when Sam and Dean get flung around the room and knocked unconscious all the time. There's no way Sam doesn't have concussion syndrome at this point. To not only get hit on the head, but to be knocked out because of it for several minutes? That's a serious, serious injury. It's always so funny to me when the boys get knocked about so easily in every episode, because it seems like dumb luck that they're still alive.

The episode was only slightly past the thirty minute mark when the werewolves were dead, so it was so obviously telegraphed that there was more to the story. I would have wanted just one more twist thrown in for good measure, to try and trick audiences into maybe falling for the C-plot setup just a bit more. As it was, everything was so standard, so predictable, that I was primed for a big twist from the start.

Pros:

But honestly? This episode kicked ass, and it furthered the main plot, and if the worst thing I can say about it is that maybe it was slightly too predictable, I think we've got a winner on our hands.

Before we touch on the meta stuff, let's talk about the parallels as they stand. The obvious one is with the werewolf brothers. One brother shoots the other and then kills himself, because they had both become monsters. Sam and Dean are forced to watch, and the symbolism is certainly not lost on them, even before Lilith spells it out. This is the telegraphed ending, the confrontation we've come across before. It's high melodrama, and it's been done as the climactic ending of several seasons of Supernatural. Again and again, Sam and Dean would rather let the world burn than lose one another.

The story of the werewolf brothers also continues one of Supernatural's most repeated and yet sometimes muddled themes, that of whether monsters are salvageable or all need to be killed. We seem to have landed pretty firmly on the side of things that says there is redemption for monsters. We just saw Benny for a moment there last week, and characters like Jack are meant to be an argument against the inevitability of evil. It's a free will thing, right? So this ending for the werewolves, where death is the only salvation left to them, is clearly Chuck's philosophy, not the one that the show is going to land on in the end.

There was another parallel that I thought was really interesting. Before we know that Ashley is actually Lilith, she has this super on-the-nose conversation with Dean about how she doesn't know what she wanted to do with her life. I suddenly realized that she's a new graduate from college, the same age that Sam was when this show started fifteen years ago (it makes the potential romantic angle between Dean and Ashley really gross, in my opinion - I was getting more of a father-daughter vibe from them). But in any case, one of the other big questions this show is going to have to answer is how Sam and Dean will end up. Alive or dead? I'm betting on alive. And if that's the case, we've got to decide whether they will keep hunting forever, or whether they get a different ending. Dean is telling us that he loves his job and wants to keep hunting. Sam, I think, probably wants to settle down if at all possible. I like that these questions are being introduced here, as it's starting to set up whatever sort of epilogue we'll get at the end of the show.

I just want to say thumbs up on the continuing nostalgia factor these days. Thus far, returning characters/cameos include Ketch, Rowena, Kevin, Benny, Lilith, Becky, Amara... and I'm sure the list will go on. It's fun to have nods to the past in almost every episode, and they are managing to make it feel all very organic because the show itself has become about the fact that it's a story. Does that sentence even make sense? Well, you get the point. The meta nature of our final A-plot makes it work to have so many call-backs to the past.

And let's talk about that meta, shall we? For all that I was digging the parallels in a lot of ways, I was almost going to put something in the "cons" section to complain about how on-the-nose it all was. There's something to be said for a bit of subtlety, after all. But then Ashley turned out to be Lilith, and everything changed. Because all of this heavy-handed storytelling isn't the show-runners or writers. I mean, it is, but it's on purpose, because that's how Chuck rolls.

It makes everything come full circle in a way that feels true to Supernatural's origins. To the amazing five-season arc that made up the best of what the show had to offer, a decade ago. It comes down to brother vs. brother, but what it really comes down to is free will vs. destiny. That's the beating heart of this show, and Chuck is the one writing the story. He might not realize it right now, being that he's a merciless villain, but if Sam and Dean thwart him, and achieve their happiness, that is the ending that is narratively earned. That is the only appropriate way to end the story. Chuck is stuck in a cycle of dramatic and ironic deaths, where Sam and Dean, two people who would let the world burn for one another, are forced by circumstance to die by each other's hand. And the only true ending to this show can be the one where Sam and Dean are forced by circumstance to make that choice, and choose to say no. It doesn't matter that we've been here before, so many times. That's the story Chuck wants to tell, and it's the story Sam and Dean will refuse.

I also want to touch base on Sam's dreams for a moment. We get the very predictable, yet still cool, revelation that Chuck and Sam are linked because of the "Equalizer" bullet that Sam shot Chuck with at the end of last season. Because of that, Sam is getting access into some of Chuck's imagined endings. We had the dream last week, and here we see Sam killing Dean again, this time with fire. And then we see Dean, a demon once again with the Mark of Cain back on his arm, stabbing Sam with the First Blade. Sam is disturbed by the nightmares, but keeps them from Dean until Dean tells Sam what Lilith told him about God's plan. I'm glad that Sam and Dean got to go a little while without knowing Chuck was still around, but it makes sense that as we're now 25% done with the season, they are back in the know and ready to face down their greatest challenge yet. This is exciting stuff, guys!

Lilith's return was everything it should have been. I knew a twist was coming, but when Ashley tripped and fell and was impaled on those antlers, I was legitimately shocked. And then - Lilith? Of all people? I was, as they say, shook. She destroys the Equalizer, which is good because I hate the super-powered weapon thing, and she tortures Dean a little bit just for fun, while under orders to leave both of the boys alive for Chuck's bigger plan. Obviously I am a sucker for Dean doing anything and everything to protect Sam, so that moment when Sam was lying there unconscious and Lilith starts to walk towards him, and Dean says "don't touch him," was just... *chef's kiss*.

And finally, let's turn to the Cas of it all. I am actually super delighted by the way they are doing this whole Cas and Dean breakup subplot. It's pretty clear from the brief mentions we get that Dean did not clue Sam in to what went down between them. Sam is texting and calling Cas and getting no answer, and Dean is shrugging and acting like nothing's wrong. Sam left a message cluing him in on the Chuck and Lilith situation, so what else can they do? I love that Dean is acting all casual and unconcerned. Because he's probably hurt and guilty, and he doesn't know how to process that right now when it comes to Cas. It's all leading up to some kind of resolution that I think I'm probably going to be happy with, no matter how blatantly no-homo they go with it. At least we're getting an entire emotional arc about their friendship. That's frankly more than I was expecting.

Dang, this review got long. I guess that's what happens when the episode ends up being really, really good! I'm pretty pumped for how the show is going to end, and ready for lots of nostalgia and gratuitous angst along the way!

9/10

[elcorhamletlive]

MCU Rewatch: The First Avenger

“this one has waited long enough” IT SURE FUCKING HAS

I like Red Skull’s introduction. I especially like the hints we get of his transformation (”you will burn”, “I already have” and the moment where he touches his cheek) and the two close-up shots we get of Hydra’s symbol, both spotless and then, after the scene, with blood splattered all over it. It’s not SUBTLE, but I like it.

THE SHOT OF THE BROOKLYN BRIDGE. I LOVE.

“Kind makes you think twice about enlisting, huh?” “Nope” I gotta say, I used to think this scene was the first guy teasing Steve, but rewatching I think he’s just making conversation and Steve is just full set on DETERMINATION MODE so his response is a little too blunt. lol I love it.

nnngg I love Evans’ facial expressions when he approaches the doctor??? The matter-of-factly way he explains both of his parents’ death (because he’s done this exact process many times before)??? I LOVE IT.

“Every able-bodied young man is serving his country” Look. Far be it from me to claim this movie has some groundbreaking message about disabilities or whatever, but it does such a good job on stablishing Steve’s motivations. There’s a reason Steve longs to prove himself that’s so clear on this one line alone.

jahodiawjojaojowjdioj look I know we aren’t even ten minutes in and I already can’t shut up but!!!!!!!! My rant about how “angry chihuahua Steve” is the worst characterization wasn’t even entirely COMPLETE because at the movies scene, Steve downright tries to calmly ask the dude to stop at first???? His expression is wary and he’s like “hey, can you show some respect” and only when the guy keeps going that he evolves to “hey, can you shut up”. STEVE IS A REASONABLE PERSON WHO DOESN’T GO AROUND PICKING FIGHTS FOR NO REASON, THANK YOU FOR COMING TO MY TED TALK.

“We’ll face any threat no matter the size” just as the dude stands up and faces down lil Steve. I LOVE.

Aside from the GARBAGE CAN AS A SHIELD MY HEART GROWS THREE SIZES EVERY TIME I SEE IT (STEVE FIRST INSTINCT IS ALWAYS TO DEFEND FIRST IT TAKES A RIDICULOUSLY LONG TIME IN THE FIGHT FOR HIM TO EVEN THROW A PUNCH), he takes three punches straight on the face, all of which knock him to the ground, standing up each time. I kind of live bc it would have been easy to just cut to Steve already beated up and the dude going “you don’t know when to give up huh”, but they make a point of showing him standing up. This movie has such a good attention to detail.

Bucky tells Steve he got his orders and Steve’s sole response is to listen and then go “I should be going”. Steve kind of went through a bunch of emotional - and literal - blows in sequence, but his first reaction is not to emotionally rely on his best friend but to retreat and be by himself. Bucky sees through it and pushes him to not do that, thankfully, but it’s still an interesting characterization thing.

I’m in love with the way Steve takes a breath and straightens his bangs when they meet the girls. HE’S SO NERVOUS and he already knows how this is going to go.

TAKE HIS GODDMAN PEANUTS DEAR GOD LADY, YOU DON’T HAVE TO MARRY HIM JUST DON’T BE RUDE!!!!

Dominic Cooper as young Howard is just perfect casting. He’s a delight to watch and he and Rdj look alike enough to see a family resemblance.

There’s a lot I can talk about Steve and Bucky’s argument at the fair, but I think it all boils down to the fact that I think both reasons they mention for Steve to insist on getting enlisted are true. Steve has something to prove, he wants to prove he’s not useless, and he also feels that, if someone is putting their lives on the line, he should also be out there doing the same. Both things can be points of influence, they don’t necessarily contradict each other.

Steve doesn’t have any delusions about war, though. Both of his parents died because of it. He doesn’t show any joy for Bucky when he’s recruited. At this point I do think he has respect for the army as an institution, but he knows war isn’t pretty.

Steve hurrying to put his shoes back on when he thinks he’s about to be arrested, lol. Pretty sure he would have tried to run away if the guard and Eskrine hadn’t shown up immediately.

One thing I like about this movie is that, although it doesn’t really challenge the idea of american patriotism significantly, it works around all the potentially unsavory aspects of a character like Steve with small details, such as giving Steve a non-american love interest and a non-american mentor, making a point to acknowledge their struggles as such (”Queen Victoria”), and also making a point to show how Steve himself doesn’t partake in this xenophobia. It’s one of the reasons this movie works.

That’s all to say I love Steve laughing when Peggy punches Hodge. He’s the only soldier who laughs. I love.

What does one pack to go prepare for war?? BOOKS, obviously. So many books. He’s a geek and I LOVE HIM.

The FLAG SCENE. How the sergeant guy doesn’t even expects him to DO anything and immediately tells him to fall back in line. His little “Thank you, sir” before he climbs the car!!!! This movie is just TOO FUCKING MUCH.

I teared up in the grenade scene. I feel like this is all you need to know about me as a person. The way he doesn’t hesitate, how he was willing to die right there in the middle of a training exercise gone wrong. How Peggy also rushes forward to do the same. The way his body curls over the grenade. This is my favorite scene in the entire MCU.

“He’s still skinny” nishuhseifh LOOK Phillips is a good and deserves more love, his perspective makes total sense and I enjoy all his moments in the film.

Also, when Phillips is defending the idea of picking Hodge to Eskrine, one of the things he says is “He follows orders, he’s a soldier”, which perfectly sets up the “not a perfect soldier, but a good man” theme that Eskrine will spell out in the next scene.

“Can I ask you a question?” “Just one?” LISTEN!! Eskrine thinks Steve must have a thousand questions about the nature of the procedure, but Steve DOESN’T because he doesn’t CARE he will do whatever it takes, the only thing he wants to know is why him because that is the only thing he can’t bring himself to understand.

“So many people forget the first country the nazis invaded was their own” Like I said, this humanity that is granted towards non-american characters is a crucial piece of why this movie succeeds, and this line is iconic and actually a pretty important piece of perspective in a WWII movie.

I love the scene of Steve and Peggy in the back of the car so much, it’s my favorite Steggy scene. Steve is just so clueless, starting his first conversation ever with a woman with “HEY LOOK AT ALL THESE PLACES WHERE I GOT MY ASS KICKED”, and I really like the parallel that is stablished between them when Peggy mentions every door shut in her face, and how Steve doesn’t really get Peggy’s motivations but he respects it, even if he fumbles through when he talks about it. 

I just love how sincere the whole thing is. “The right partner”, he says, not even looking at Peggy, not using it as a line to flirt with her. He’s just earnestly and openly saying that he’s a) terrible with romance and b) a huge romantic all the same. I LOVE.

He’s terrified in the serum scene, but he still cracks a joke when Eskrine asks him. Also, Eskrine landing a hand on his shoulder to steady him is so sweet. And then the procedure in itself is so painful and Eskrine and Peggy are ready to stop it but he yells he can do it. I’m just narrating the movie at this point but I love it. I love everything.

The first shot of Steve post-serum is so hilariously pornographic, I still can’t believe it.

Peggy is actually the first one to pursuit the Hydra spy. Steve’s first focus is just on Eskrine. Strong characterization is all over this movie and it’s so good.

PEGGY SHOOTING THE DRIVER IN THE HEAD FROM SUCH A LONG DISTANCE IS SUCH A BADASS MOMENT.

Also she shouts “I had him!” when Steve saves her! This movie does so much to stablish she and Steve are really alike, I appreciate it so much.

I’m gonna refrain from objectifying Chris too much because god knows this is getting too long without this constant point, but the tits are out of control on the car chase scene. God bless.

And I love how he has no sense of balance or control of his speed. Crashing into a store and then apologizing as he runs away. lol

He’s so emotionally distraught over Eskrine’s death. And the Phillips delivers such a huge blow with his “You are not enough” line. This is SUCH a theme with Steve through his mcu narrative, and it calls back to his feelings of helplessness pre-serum. It always hurts me to hear it.

I LOVE THE STAR-SPANGLED MAN SONG SO MUCH. It’s such a fun sequence and it makes sense and it’s such a clever choice to have that in the movie. Like, instead of hiding how incredibly cheesy a character like “Captain America” can be, let’s just play it up to deliberately ridiculous levels giving a nod to war propaganda! It’s SO GOOD.

And there’s so many moments in this sequence, too. Steve with his perfect post-serum memory still having to read cue cards. His awkwardness holding the baby and his relief when he hands it back to the mom. The Hitler punching, the comic books!! This movie really hits a wonderful balance of honoring the essence of Steve’s original character while also presenting him in a way that makes him relatable and likeable to non-american audiences.

I love that Steve doesn’t even get mad at the soldiers mocking him. They tell him to get the girls back and he’s honestly just like “uuuh I think they only know one song, but I’ll see what I can do”. And then the soldiers call him a fairy (”Tinkerbell”) and throw fruits at him and he’s just upset, but not mad. He gets where they’re coming from and he kind of agrees, as we see later by the dancing monkey draw. Steve was never comfortable on stage.

“You two will be in a lot of trouble when we land” HE’S WORRIED ABOUT PEGGY AND HOWARD BEFORE DROPPING ALONE INSIDE ENEMY LINES HA... HA.... HA.............. MY HEART IS BLEEDING I LOVE HIM SO MUCH.

The little smile Bucky gets when Steve says it’s him is the cutest stucky moment. 40s stucky is the best stucky. 

“did it hurt?” “A little” lol okay Steve

Flustered Steve is adorable. And Howard explaning to him what fondue is. lol

That being said I don’t like the scene where Peggy shoots the shield. Maybe my least favorite moment in the movie.

Okay, ideally, the Howling Commandos would have gotten a little more screentime and development, but I still feel like their sequences work. 

“Remember when I made you ride the Cyclone in Coney Island?” This line is hilarious to me because I went to Coney Island last year and rode the Cyclone and there’s literally a poster specifically warning people with heart issues or who are easily sick NOT to ride. Bucky, what were you thinking. lol

I love the motorcycle so much, and I love that it becomes a Steve thing.

“We can’t just knock on the front door” “Why not?” :D

I feel like Steve moves in to kiss Peggy after she rescues him, and then she kind of reminds him of the battle. lol It’s cute.

I had never noticed Red Skull disappears going upwards into space. It’s incredible to think IW took such a small piece of open narrative and paid it off.

Fandom is full of hot takes about Steve’s sacrifice and each one is more terrible than the other, but I’m not gonna waste time salting here, I just want to say it’s a beautiful and moving scene and I love that he stays talking to Peggy until the very end.

Peggy looking at the picture of pre-serum Steve and the theme playing in the background!!!!!! I’M EMOTIONAL.

I feel like SHIELD was onto something trying to break everything slowly to Steve. But I love that he finds out, and I love the headcanon that Fury meant to test him and see if he’d found out even more.

I’ve seen the alternate ending where Fury talks to Steve more and reassures him they need him and etc, and I get why from an emotional standpoint you’d want Steve to get that reassurance, but narratively I feel like the emotional punch of “I had a date” is pretty much perfect and the alternate ending would have taken away from it. It’s such a great ending.

Welp, here we are. I love this movie. I love love love it. It’s a movie I’ve rewatched before a couple times, but I still got so emotional rewatching it today. There’s so much attention to detail, strenght in characterization, and space for characters to feel and develop. It’s amazing that we spend pretty much the entire first act with smol Steve. I love it with all my heart.

[lollydrag0n]

CASTIEL AND HIS SACRED OATH - 12x10, 12x12, 12x23

This scene here. This split second glance is so so important. I don’t know why people aren’t talking about it (I couldn’t even find any gifs of it and had to take pictures coz I’m computerly incompitent). But I wanted to give my own analytical response to this millisecond glance, because I think it demonstrates properly why Cas has never done anything about his feelings for Dean. 

First, some context from my behalf: I always assumed Cas had never admitted his love for Dean for one of two reasons, 1) he was an angel, therefore not quite understanding his feelings himself - perhaps confusing them with familial love, Dean style. Or 2) he was afraid his love may not be reciprocated. But after watching 12x10, 12x12 and 12x23, I can thoroughly rule out reason 1. 

Now, I’ll be talking a lot about 12x10 as that ENTIRE EPISODE and THIS LOOK are so closely correlated. 

Okay, so 12x10 (Lily Sanders Has Some Regrets). I’m sure you’re all familiar with this episode as it gave us some truly awesome Destiel moments as well as fem!cas. Now my initial reading of this episode (as well as many others, I’m sure) was that this was a detailed explanation as to why Cas hasn’t opened up about his feelings. The reason to this: God. Yes, Chuck, I’m looking at you, you huge cock-blocking celestial dork. You are the reason Cas is so fearful and closed-off. 

Lets delve into this episode a little bit for those who need a refresher: Ishim (an angel of the lord™) falls in love with a human and convinces Heaven a nephilim has been born, all so he and his squad can dispose of this child and the angel who stole the love of his life. Just to hurt Lily and free himself from the pain of rejection. 

I was somewhat surprised with this episode (because hot damn! The symbolism and themes are just SO BLATANT), but mainly by Cas. He seemed so concerned and disgruntled with Akabel who (supposedly) fathered a nephilim and fell in love with a human. Previously (in 12x08) he refers to this as an “abomination” (a word that prompts us to think of another so called “abomination”). Cas sounded quite just damning Akabel, explaining he “broke our [Heaven/God] most sacred oath.” This is important. 

This surprised me, and it felt wrong. Here’s why:

He was a soldier and angry at Akabel for laying with a human, falling in love with her, and birthing a nephilim… But, like… Isn’t this exactly what he’s done with Dean? (maybe not the nephilim part, but you get my point). If we’re to believe that for all these years Cas has had a huge crush on Dean “Humanity” Winchester (which he has), why then is he so stoic and cold when another angel does the same? Obviously this was many years ago when he was still a loyal servant of Heaven, and you can argue that that’s all it is - however - during this episode, Cas still seems uncomfortable with the whole angel/human relationship concept. It came off as very hypocritical, and that’s why it felt wrong. 

Now, it was one thing for Cas to act this way hundreds of years ago - before Heaven lost its controlling iron grip, before he fell, and before he met Dean. But Cas still appears justified with this “abomination” ruling. As he, Dean, Sam, and Ishim sit inside that church (the home of God), discussing the situation, Cas has nothing to say in regards to Akabel. He doesn’t seemed phased about getting him killed and only appears to offer a hint of remorse in conjunction with the child, calling it “horrific, but necessary.” 

After watching this episode I came to some pretty amazing conclusions and realised I was wrong about a few things. Cas wasn’t unsure of his feelings for Dean - he was ashamed by them. Much like I believe Dean is surrounding his sexuality. So now we have both Cas and Dean seeing their feelings as ‘wrong’ in some way. With Dean it’s in regards to his own perception of masculinity. And with Cas its believing his father sees human/angel relationships as “abominations” (this is often explained through the nephilim narrative). This makes Cas’s views way more intense in my opinion. He wouldn’t just be defying himself if he admitted his feeling, he’d be defying God himself - his father. He sees Chuck as believing angels and humans should not be together romantically. And I mean, when your father - the literal creator of everything - says something is wrong, you may feel inclined to obay.     

I also believe this is a parallel to Dean/John - mirroring their early relationship. The reason Dean isn’t comfortable admitting his bisexuality and subsequent love for Cas, most likely stems from his relationship with his dad and his upbringing. John never let him be a kid, never let him play around and shoved masculine behavior so far down his throat that he became frightened to do anything outside these teachings. Which most likely included homosexuality, as he grew up in a time where this subject was often stereotyped with femininity and weakness. John’s word was law in Dean’s world. And we’re only now starting to see him break free and come to terms with who he is. 

Doesn’t this sound a lot like Cas and Chuck? God created humanity and with that came rules - God’s law. One of which being “so like, all my angel children, don’t go around sleeping with my humans, that ain’t cool. Just don’t - in fact, its an abomination.” We know Cas isn’t one for following rules and has certainly distanced himself from Heaven in recent years, however, he is still an angel, and despite falling, he is still loyal. He cares for his brothers and sisters, even when they’re pieces of shit to him (*cough* Ishim *cough*). He is still seen helping heaven and other angels even though they may hate him. Because he remains loyal to them to an extent. This is why he still follows their most sacred oath. 

I’ll break down very basically the two rules Dean and Cas are currently controlled by, thanks to their fathers. 

Dean: “Man shall not lay with man. It is an abomination.”

Cas: “Angel shall not lay with humanity. It is an abomination.”

I believe this is the simplest way to put our two boy’s dilemmas. And although Dean isn’t exactly religious in a lot of aspects, this is the basic outline for their fears (as well as Dean’s being “can’t be seen as weak, can’t be seen as girly”).

Some of you may say (just like I did while writing this): “What about April? Cas had no qualms sleeping with her and he thought she was human, so waddup?” April, as you may recall, was that piece of crap that slept with Cas and stabbed him the chest before Dean rightfully kicked her ass. Well you’re right. When Cas slept with her, he did in fact think she was human (and not a reaper like we later find out). But don’t forget Cas was also human during this moment. Metatron had stolen his grace. If he really feels being with a human (love or sex) is as bad as I think he thinks it is, he must have convinced himself of that fact. “She’s human, I’m human - this is fiiiiiine.” You can even see the confused and conflicting fear skim across his face as he kisses her. 

I’d also like to point out that this episode is literally called “I’m No Angel” with Cas repeating this line after they have sex.

 Next up, we have Daphne (also human and practically the female equivalent of Dean), who was his wife for the briefest of moments during 7x17. But again, Cas wasn’t himself, he had amnesia, thought he too was human, and therefore saw no wrong in this. Other than these two examples, I don’t believe Cas has ever had another human love interest (excluding Dean, obviously) in all of the 9 years we’ve known him, which is a hell of a long time. So I think its safe to assume that Cas (when he’s fully sound of mind and all graced-up) believes it is wrong to be with a human. 

So, to recap: 

Cas loved Dean and is fully aware of this.

Sees human/angel relationships as wrong (thanks to the rules of Heaven and Chuck which are hard-wired into his brain).

Hasn’t done anything about his feeling because he is AFRAID (of Dean’s response) and ASHAMED (of what God would think).

Has only been with Humans when he is human, or thinks he’s human.

Okay, now its finally time to get back to those first three stills (thank god, you must be saying). Here is the scene that plays out directly before the glance:

This is then where we’re presented with that half-a-second glance at Dean from Cas. Pay close attention to what Luci says here and when it cuts to Cas. Directly after: “We can’t, daddy’s watching.” 

LOOK AT HIS FACE! Note how the frame LINGERS ON DEAN AS CAS FADES INTO THE BACKGROUND! LIKE!!???!?! I see no other reason for this exchange unless it is specifically related to something Lucifer is saying. The only other explanation I can think of is perhaps Cas is worried about Dean because Satan is mocking Sam and clearly not bothered by the threat of God, and he knows how Dean could get aggravated by this, but that’s stretching it. No, what we have here is Cas connecting to something Lucifer is saying. Its reminding him of his own fears. Namely, “Dean and I can never be together because daddy is always watching, and he would hate me. I can’t break my oath.”  

BOOM! There it is - the moment that made me sure of why Cas has never opened up to Dean and why he couldn’t keep eye contact during his group love confession. Because he is ASHAMED AND SCARED. I didn’t notice this glance my first watch through, but when I did the second time, HOLY SHT. This just drove home suspicions I had after watching 12x10 that Cas is fearful of his emotions and worried about how his father would react to them - even if it may be subconsciously.

I may be slow to this realisation, but I really wanted to bring up this scene in 12x23 as I don’t think anyone’s mentioned it. I just hope we get more of this, more of Cas confronting his feelings and dealing with why he hides them. Maybe we could even see him disregard his fears and start to accept himself and become less closed-off, like we’ve been seeing Dean do in the last two seasons. 

Anyway, that’s all I have. Thank you to anyone that read all the way through. 

EDIT: I wrote this before Season 13 came out and I feel compelled to mention Cas’s depression/empty!cas scene in 13x04. This entire post was about me believing Cas was ashamed of his love because he thought God would judge him (even if that may be wrong from what we - the audience - know of Chuck, but Cas certainly believes it - maybe subconsciously). This episode just further solidified my analysis with the whole “I know who you love, what you fear” line. 

Empty!cas is most Definitely referring to a secret feeling Cas harbors for someone (yes, singular) for which he feels shame. This is just more proof (fool proof proof that’s finally being rammed down the antis throats) that Cas is in love with Dean and thinks what he feels for him specifically is wrong and something he should be ASHAMED of. I am so happy with my reading after seeing this episode and empty!cas spelling out all my beliefs in the most obvious way that SPN could possibly present. I even appreciate empty!cas kicking Cas while he’s down by pretty much saying “I know what you hate (yourself, your emotions, why you are the way you are), who you love (Dean), what you fear (him not loving you back, and the ramifications you would face if you ever did anything about it)”. 

Beautiful. This episode was just beautiful. I could not have wished for anything more. LollyDragon out.

@tinkdw @olympiahell @postmodernmulticoloredcloak @elizabethrobertajones I’m interested in your guy’s response, if ya’ll have the time

[paceunknown]

ummmmmm folks unless you’d like to know my entire “steve rogers is a god” theory please ignore this text post but if you’re @carolineshea then please continue. i’m pretty sure tumblr did away with read mores otherwise this would 100% be under one. my bad !

1. so this point is pretty irrelevant overall but I have to mention it. marvel has a thing about repetition, whether across multiple movies or to establish a motif in a single film (i.e. “we don’t trade lives” in aiw) and it’s interesting to me how in catfa redskull wanted to “harness the power of the gods”, he believed that he and steve had “left humanity behind”, I don’t remember zola’s exact line but I’m sure he said something about redskull that’s relevant my point just is that it’s interesting how often it was brought up when we have no idea what was in the serum

2. speaking of the serum , we don’t know what’s in it! other than potassium! and you can get that from a banana! and we’ve seen that cosmic entities can be harnessed to give powers, who’s to say erskine didn’t stumble across something from space and figure out how to make a serum from it! what if the serum activated something in one’s genetic code that makes them “godly” or just straight up turns them into a god! who knows!

3. alright so onto a1. now I know that the comics and the mcu are different universes with their own rules, but it’s worth comparing the changes. in the comics, steve’s shield is made of vibranium AND adamantium (the stuff in wolverine that made his bones/claws metal) yet when hit with mjolnir, it dents like foil. but in a1, we see thor hit that thing with all his might and steve doesn’t even waver, just holds it up and the forest around them gets knocked down? when in the comics his shield was STRONGER and it was no match for thor? so why make that change in the films? (this point is my jumping off to how steve and thor are constantly paralleled throughout the mcu)

4. so now aou! of course, there’s the scene where steve almost lifts mjolnir. now in the comics, pretty much every single character has lifted that thing at some point, like I think even loki and gamora have. but in the mcu steve is the only one who comes close? (yes I’m ignoring vision he’s a robot with a literal infinity stone) and then earlier, when thor has his little flask of 1000-year old alcohol that he says “isn’t for mortals”? yet he just hands some to steve like it’s nothing?? granted, I’m aware he was probably using hyperbole to be funny, but it’s still interesting how this is something literal gods drink and thor gives steve some without even questioning it. the man is just superhuman, he has a fast metabolism, is strong, and can heal quickly what about that screams “he can handle otherworldly liquor” I know I’m being nitpicky but they’re more parallels between steve and thor. why are they always being paralleled. during some fight scenes in aou we see more mjolnir/shield action and we all know how the shield is supposed to be a representation of steve why can thor kick everyone’s ass except steve’s it doesn’t MAKE SENSE IF HE’S JUST A JUICED UP HUMAN

5. so now let’s mosey on over to aiw, where the meat is. some basic things to get out of the way: yet another !! parallel between steve and thor in that they are the only two heroes to get “holy shit we’re saved” moments in the movie. which isn’t to say everyone else didn’t absolutely kick ass, but steve arriving at the station to save wanda and vision, and thor bringing lightning to wakanda are the literal only two moments in the movie where, once they show up, you feel like everything might be okay. PARALLELS. WHY. also, it’s worth noting that proxima midnight’s spear (the woman of thanos’ flunkies) is never supposed to miss it’s target. like, it was specifically crafted so that it Never Misses. so how was steve able to just side step that hoe and catch it? if you look at proxima’s face during that scene, even she is shocked! because it SHOULDN’T BE ABLE TO BE DONE. HOW DID HE DO IT. lastly for the parallels, steve and thor are the only two heroes to stop thanos dead in his tracks (minus mantis but a major component of her ability is to knock people out so it’s expected of her to be able to subdue him). wanda slowed him down, but he was still coming for her through her whatever-it’s-called. hulk got his ass kicked and checked out for the rest of the movie. steve? caught his GAUNTLET. thor? spiraled stormbreaker into his chest and delayed the snap. PARALLELS. WHY.

6. now I’ll have to explain my soul stone theory. you don’t necessarily Need to know it, but it furthers one of my earlier points okay so ! idk how much about harry potter you know, but I think the soul stone operates similarly to how the sorcerer’s stone and elder wand did. in the end of hp1, there was a charm on the sorcerer’s stone that made it so only someone who wanted to find the stone but not use it could have it, thus ensuring harry got it where voldemort didn’t. now, I’ll admit during my second viewing of aiw I went to the bathroom during the vormir part, but I don’t think the soul stone placed itself in a situation where a living sacrifice had to be made in order to obtain it. and I imagine something like the soul stone, where it’s whole power is to see within, wouldn’t take kindly to someone awful wielding it who 1) killed a loved one 2) was going to use it for evil. I mean, every time he gets a stone he shows off what it can do, but when he got the soul stone he just said “cool onto the next” and we never got to see what it does? fishy. which brings me to the elder wand: in hp, wand loyalty is a big thing. any witch or wizard can use any wand, but if it doesn’t truly belong to them, it will never work to it’s maximum potential. long story short, dumbledore had the most powerful wand in existence, voldemort took it off his corpse thinking he then had control over it, but in a long and convoluted way, the wand actually belonged to harry thusly the elder wand never worked properly for voldy, enabling basically a fail-safe that allowed harry to kill him. and I’m sure you can see where I’m going already BUT I think another quality of the soul stone is that, since it doesn’t Want to answer to thanos, it’s seeking out someone wholly worthy (wow what a word.....) enough to actually wield it, and who are the two most “worthy”, righteous, good with a capital G characters in the mcu?

7. so my thinking is this: when thanos warped to wakanda at the end of aiw, he was using the gauntlet, knocking the avengers out the way left and right, but when he went to punch steve (WITH FIVE STONES AT THIS POINT!!!), homeboy just caught his fist? even thanos was confused, just like proxima midnight was confused. he had to use his literal other hand to punch steve and advance. and granted, I’m aware steve was a little distracted by the fact he was holding back the gauntlet, but I think the symbolism is interesting when you tie in the soul stone theory: the stone already didn’t want to answer to thanos but it recognized the greatness in steve, thus “submitting” to a potential “true master”, allowing steve to be stronger than the gauntlet in that moment. and thanos had to use his gauntlet-less hand to make contact with steve. HM. fast forward a couple minutes, and somehow thor is able to hurl stormbreaker at thanos through a beam of energy coming from SIX STONES and nearly kill the dude? come on. so I posit that, like with steve, the soul stone recognized the greatness in thor and weakened itself to allow thor access to thanos. a reach? yes probably. but if I were right, how telling is it that the soul stone only weakened itself for the two characters that have been consistently paralleled throughout their time in the mcu. I mean I know it was just a joke but they even had that moment about comparing beards....another parallel. Why. why continuously put steve on par with thor, a literal god.

8. (this one is 100% a reach I like to have fun!) in the comics thor has a half brother named balder who has a son that ends up being the god of justice. HELLO. I’m not saying steve is thor’s nephew, but I AM saying if steve were to be the god of anything that he’d be the god of justice. which is a character in marvel comics. that the mcu draws inspiration from. HM!!!!

9. also let’s talk about how worthiness is a constant theme in both thor’s and steve’s stories. worthy to whom ? the gods ? Steve’s one too bring in the dancing lobsters

10. I’d lastly like to say I don’t claim to have an idea what the serum did or what was in it, so I doubt steve’s actual, real god. like I don’t think he’s got some secret thor powers hidden, just waiting to be activated. but! I do think he’s definitely god-like (or hey we like to have fun maybe a demi-god we don’t know much about his lineage) and that his consistent worthiness that’s been consistently likened to thor’s means Something more than him just being a righteous man. I truly do think there was a deeper reason he was chosen for erskine’s serum other than his being scrawny, kind, and quick to fight; I just don’t know what that might be

[imagitory]

Star Wars Episode VIII: The Last Jedi Review [Spoilers]

Hey all! So I just got back from seeing The Last Jedi, so I can finally put my two-cents in on the newest installment of the trilogy. Before getting into spoilers, I will say this film is a worthy addition to the franchise, building upon concepts from previous movies while also creating new, creative imagery for this film that fits alongside the stuff that came before it. While I successfully guessed a few twists this film took, it also surprised me just as much, and I greatly appreciate that. It kept me on my toes the entire time. Overall, I would say every Star Wars fan will get something great out of this, even if they end up not liking the film as a whole.

Now then...spoilers ahead. Beware, all ye who enter here.

The Good!

+These action scenes...DAMN! I think they were easily some of the most creative and thrilling in the entire film series. Rose and Finn’s chase through intergalactic Las Vegas Canto Bight, the opening battle with the fighter jets, the confrontation at the rebel base, and the battle between Rey, Kylo Ren, and the First Order officers were all fantastic. The effects were spot-on, the music matched the movement perfectly, and the choreography of both the CGI and the actors was really well-done.

+Mark Hamill as Luke. I mean, yeah -- what can you say here except “duh?” Mark really went above and beyond here. Yes, I knew I was going to love seeing him as Luke again for nostalgic reasons, but what I love most is how much more depth Mark brought to the character, after all of the trials and tribulations he’s gone through between the films. He depicted a character who most would think would solely be a mentor figure, given his age and his beloved status, but who it turns out has his own learning curve to take on. He needs to acknowledge that while the Jedi were flawed, their philosophy shouldn’t just be completely thrown out and their old religion shouldn’t just be forgotten -- there are pieces that are still of use and should be passed on. It’s something Rey also realizes, and Kylo does not -- Kylo wants to burn everything down, including the past, regardless of the shreds of good there might be in that past along with the bad. And like Rey, as much as I was sad to see Luke go, I felt peace as it was happening. He is now one with the Force. Now he can guide Rey into the future and haunt Kylo for his mistakes -- both of which I will support him in wholeheartedly.

+Carrie Fisher as Leia. This truly was a shining performance -- I feel so beyond blessed that she was able to finish shooting her scenes before her sudden death, because hail to the motherfucking Queen, baby. When the Rebel bridge got blown up with Leia inside (good touch having it be Kylo’s men and not Kylo who did it, by the by), I literally felt myself stop breathing. But then she FLOATED HERSELF BACK TO THE SHIP TO SAVE HERSELF AND HOLY SHIT. It was actually eerie seeing Leia unconscious on the ship, as I couldn’t help but think of how Carrie had also been in a coma just before she passed...it was beyond merciful that Leia survived in this installment, and that she got to kick so much ass here. I do wonder how the filmmakers are going to handle her loss in the next movie...but wow, am I glad we got to see Carrie one last time on film, especially when she gave such a good performance.

+The focus on Poe. Honestly, Poe Dameron didn’t get that much attention in The Force Awakens, and I’m glad he got his proper share of spotlight here. I love the arc he went through and how he came to appreciate Vice Admiral Holdo’s leadership, even despite their differing approaches and distrust of each other. I think he’ll truly be able to step into Leia’s shoes as leader of the Rebellion in the future, now that he’s learned the value of human life over glory.

+The theme of rebellion being a symbol of hope to the oppressed, best exemplified by Rose and the other marginalized citizens of intergalactic Las Vegas Canto Bight. Yeah, I keep referencing Las Vegas when I talk about that planet, and yeah, they clearly modeled the look of the wealthy casinos and buildings off of it...but after having visited Vegas recently, and since I’m living in another wealthy tourist town myself (Anaheim), I must applaud the fact that they modeled the planet’s ugly underbelly to the same one that you can find in Vegas and cities like it, and actually took the time to discuss it. Where there is obscene wealth, there is also sickening, crippling poverty; where there is privilege, there will always be abuse. It ties back into the lesson Luke taught Rey about light and darkness -- how they constantly balance each other. But just like how Rey and Kylo mirror each other, being strong in the light and the darkness respectively, so too can rebellion become an equal to tyranny...and the end of the movie with the children likewise invigorated to take on the fight about to come left me feeling empowered.

+Finn’s arc from solely focusing on his friends and himself to seeing the Rebellion as something just as important to fight for. I’ve always seen Finn as a Hufflepuff or a Slytherin, morality-wise, in that he values his inner-circle over the whole world, but it was really neat to have him learn about how the world must be safe in order for the things he loves to be safe too.

+Kylo Ren killing Snoke. It felt in character and I think it will allow Kylo to go darker and become the real Big-Bad of the trilogy, since he won’t have to skirt around Snoke’s coattails anymore. Plus, admittedly, I always found Snoke sort of disappointing as Star Wars villains go, and I think it establishes how very treacherous the First Order is -- Kylo turned on Snoke, so who is to say Hux or any of his other subordinates won’t turn on Kylo? Unlike the Rebellion, whose bonds are strengthening, we’re already getting the hint of just how fragile the bonds binding the First Order together are...and that means Kylo has no one who he can truly rely on, unlike Rey, who of course has friends she can trust.

+I like that for all of the “mirroring” this film tried to do with Rey and Kylo, Rey still refused to follow him. She’s strong enough in herself and her moral compass to use her head and not trust him, even if he tries to lure her with knowledge of her parents and a promise of companionship. (I mean, seriously, Rey -- who gives a damn about your deadbeat parents, Finn and Poe and Chewie and BB-8 and Leia love you like few other things in this world! They’re your real family!)

+All of the actors gave very strong performances. I can honestly not pick out any weak links here -- they all gave it their all.

+The hacker character DJ I hope pops up again in the next movie. He seems like an interesting chaotic neutral character and since he didn’t get much of a resolution in this film, I look forward to what he’ll get in the next one.

+FINN KICKED CAPTAIN PHASMA’S ASS, HELLZ YEAH, THAT’S MY BOY. (Also, good to see Phasma having more screen time than in the last movie, even if it still wasn’t that much.)

The Not-So-Good...

+All the Reylo shipper fuel. *dodges knives* OKAY -- LISTEN. I do not support Rey/Kylo, and I probably never will, but shipping aside, here’s my problem with it -- the film did not properly convey why Rey has forgiven Kylo enough to let him into her mind. I’m sorry, it just didn’t. Kylo killed his father -- Rey’s mentor -- one of the first three protagonists that we all fell in love with in the original trilogy -- who went to bring his son back to the Light, only to get stabbed through the chest for his trouble. I just didn’t feel anything close to what Rey did when she started going, “Why? Why did you do it?” and questioning why Kylo destroyed the Jedi Temple -- I’m sorry, all I saw from Kylo in this film is that he was conflicted, not that he was sorry or had any interest in fixing his mistakes. It doesn’t matter if killing his father was painful for him -- it should be. He committed first-degree patricide. Feeling bad for your actions alone is not enough -- you then have to do something about it -- and Kylo did not do that. It felt like in some ways they were trying to parallel Padme and Anakin, where Padme likewise fruitlessly implores Anakin to come back to the Light Side even though it’s too late -- but there are a million and one differences between Anakin and Kylo, most relevant in this case being that Anakin’s reason to not turn back was out of misguided love for Padme (and later because he had no choice, since he’d alienated all of his allies and his suit basically left him tethered to Darth Sidious and the Empire), and that Kylo’s was to assert his loyalty to Snoke (and later to take vengeance against those who wronged him and assert his power). Anakin was trying to protect one of the people that meant the world to him after having known so little love in his life, while Kylo had a family who supported him, taught him, and trained him and he decided that Snoke’s approval and his own pride were more important than that. Anakin was raised to think that he was nothing -- a worthless slave -- while Kylo knew likely from the time he was very little that he was special and decided to act out because of it. Anakin’s initial fall was out of ignorance and a selfish kind of love, but Kylo’s was out of active vengeance, teenage angst, privileged frustration, and a toxic need to dominate and control. Snoke was right when he said that Kylo was no Vader, and that he instead was just a child -- he’s too immature to even acknowledge that his rationale for falling to the Dark Side and doing what he did was WRONG AND EVIL AND STUPID. That’s why I still don’t forgive Kylo Ren, that’s why I don’t think Rey should’ve been as open to him as she was, and that’s why I was satisfied by the ending where Kylo proved himself to be just as vile as I always thought he was, by blaming Snoke’s death on Rey so he can take over the First Order himself and go about terrorizing the galaxy. Someone who was truly sorry for what he’d done and had the capacity to change would’ve at the very least taken the “Zuko Alone” route and tried to recollect himself and redefine a new moral code that he can follow. As of now, the way things are now, I hope that in the final movie Kylo Ren burns, leaving nothing behind but a pile of ash, same as the Jedi Temple he burned to the ground.

+Rose/Finn. I know a few other people have said this, but...yeah. It was WAY too rushed. Honestly, the only thing I can hope for is that in the next film, Finn has to politely turn Rose’s feelings down, because honestly there was just not enough romantic chemistry built up between the two characters. I’m not a rabid Poe/Finn or Finn/Rey shipper, but I still think either of those couples had much more behind them than what this film gave Finn/Rose. Maybe this couple could’ve been written better, maybe it couldn’t have been, but regardless, it was a misstep for this film, the way it was handled.

+C3PO and R2D2 were pretty much dead weight in this movie. BB-8 remained relevant and necessary throughout the runtime, but our old veterans were basically props. They didn’t even really get that many laughs.

+Porgs may be cute, but...wow, were they oddly forgettable. I liked the crystal foxes (Vulptex?) much better.

I definitely look forward to seeing how this new trilogy ends. The messages and action of this movie definitely make me eager to see how the filmmakers will follow it up, and I hope that the few problems I did have are properly addressed. The new Star Wars trilogy is truly exciting...the possibility and potential for the next one truly are limitless, as far as I can see.

Overall Grade: B

[toga-vibes]

Ok, this is the long awaited fabled part 2, because I can’t get enough of the reylo tears and my bath is getting empty again. This will also include some speculation based on confirmed canonical facts from The Last Jedi trailers.

Let’s start this one with Finn’s redemption and how it relates to Kyle. Specifically, why Finn is “deserving” of redemption and Kyle isn’t. On his first battle, Finn says that he made a choice not to kill for them anymore. A big thing in star wars has always been pulling from history. That’s what makes sci-fi amazing; there’s always been a little social commentary in the process. I think Finn’s journey is best summed up in this quote by Edmund Burke: “the only thing necessary for the triumph of evil is for good men to do nothing,” and also this quote from the Castlevania: “any one of then could have stood up and said ‘no, we won’t behave like animals anymore.’”

Finn made a choice in his first battle not to participate in the killing of innocents, after watching his friend die in his arms. Going back to trauma for a second, this should definitely be a stressor for Finn. He just watched his friend get gunned down in their first real battle together. He even mentions in the novelization that battle was nothing like the sims they trained in. In WW1, they would have called his reaction in the battle and after shellshock, but now we call is PTSD. Moving back to Finn’s decision: that was only half of his “redemption,” the rest of which we’ll probably see in TLJ. He spends almost the rest of the movie stuck in the “good men doing nothing” phase from before. He spent the escape scene fighting with Poe to get as far away from the First Order as they could. He tried to leave on Takodana to the Outer Rim, instead of getting the map to the Resistance. He did try to convince Rey to come with him, but her refusal didn’t change his mind. Even on Starkiller base, he was very clear with Han that he was only there to get Rey. He finally stood up to Kyle near the end when his new friend was threatened, and we got to see him come out of his shell a little and finally stand up for what he believed in. I really really hope that we get to see him complete his journey into a full-blown Resistance fighter, when he goes on his mission with Rose (where is she in the trailer Rian ur killing me come on). Finn literally went from being a bad guy grunt to a jaded survivor, to (hopefully) a symbol of the Resistance. Leia even comments on how brave he is for renouncing the First Order, but at that point I think Finn didn’t think that he had a choice.

Now the parallels to Kyle. Oh boi jj I love how you did this. The complete and total opposite of Finn’s journey is Kyle’s. (Quick sidenote: I’m not using the term Hero’s Journey strictly because I’m not going to follow anyone’s story through Joseph Campbell’s monomyth structure of the academic Hero’s Journey. That’s another meta for another time, and I’ll probably use Luke and Rey for that.) While Finn’s choices lead him further and further along the path to a hero of the Resistance, Kyle’s choices lead him to start questioning himself and the First Order. In keeping with the opposites theme here, Finn started out as this new stormtrooper who had his whole world turned upside down, and has to go on this metaphorical journey in order to find his purpose again. Kyle starts as this ruthless commander of the First Order who knows what his goals are and will do anything to achieve them, including threatening the general of the First Order. However, we see later that he isn’t as confident as he appears to be, even though he is one of the most powerful Force users the galaxy has ever seen (I still hold a personal belief that he’s already more powerful than Darth Vader, but he can’t see it. I love this about him, and I’ll probably do yet another meta about it.). This is further solidified when Rey shows up, resists his mind probe and KICKS HIS ASS. However, he makes it pretty clear when he’s talking to dv’s helmet and when he kills Han that he’ll continue to choose the dark. And for the sake of the story, that’s exactly what he needs to do. He’s such a good character by himself, and he doesn’t need this redemption arc you guys keep forcing him into. I mean, have you guys ever seen someone who is so calm and cool and who looks like they have the answer to everything absolutely lose it, because they haven’t got the answer to everything? That’s exactly what’s happening, and I want Kyle to go nuts. He needs to keep making worse and worse choices and see everything crumble around him.

Again, forcing Rey to redeem him is probably the worst thing for his character to go through from a story perspective, and ignoring Finn’s parallel journey is an insult to both him and Kyle. I didn’t really touch too much on why reylo is bad, but I hope you can see where Kyle’s character is going and why reylo would keep him from fulfilling his role in the story.

Next time I’ll go through Rey’s journey and how Kylo’s fits in as an enemy only. Thanks for coming to my meta, reylo is trash.

[aoitrinity]

SPN Episode 14 - The Raid - Running Annotations

So much to unpack tonight! Let’s get started... (beware, obviously spoilers abound):   -In the “Then” segment, holy cow, the boys are such babies! Look at how cute they aaaaare <3 -I love watching the boys in this scene--both reacting in their own ways, but both equally interesting to watch. -”Cas almost died!”--That’s right Dean! STAND UP FOR YOUR HUSBAND! -Oh, my heart...you can just see Dean rebuilding those walls brick by fucking brick. Someone he loves has broken his trust...again...*sob* -”I watch him die, every night--” “Good.” - COLD, DEAN. Oh the feels! Such painful, delicious feels. -The BMoL compound has a very Alien feel to it. Sterile. Claustrophobic. I’m sure that’s on purpose. -”I’m doing this for you!”--Mary...but also Cas (who did bad things for Dean for a good reason). Parallellllllllllls! -Dean thinks his mom wants to get away from them! God, the pain on his face... -Dean desperately still wants to cling to his image of his mom. Dean, sweetie...you have to...you have to let go... -”You are not a child!” “I never was.”--GGGGGNNNNGGHHHHH! This...this broke me. The tears are literally pouring out of a cavity in my chest where my heart used to be. Kill me, please. It’d be a kindness T_T -”Yeah, Mary, it is.”--He--he...he called her Mary. Oh. Oh my God. Just...oh my God... -Holy SHIT and he threw her out...and the tears in his eyes...GOD...*openly weeping* Moving along from that first six minutes, which just about fucking killed me... -”But that’s not your call, is it? Or mine?”--WHO ARE THE MYSTERY MEN WHO HEAD THE BMOL?! -Oh, Sammy...honey...he’s so sad about Mary and Dean doesn’t wanna talk... -Hello Dean’s Red Shirt of Poor Decisions! What bad life choices will Dean make today? :D -”I need to hit something, now...”--liiiiike Cas? :D! (I’ll see myself out...) -Poor Sam. I definitely feel his pain--I’ve been in that position of mediator between family members so many times, and it’s always so awful. -”I chose this life” Aww, Sam, look at you and your character development! -So, the barbed wire fence rolling back really reminds me of a fucking concentration camp, and considering I feel like the BMOL are okay with monster genocide, it’s making me even more uncomfortable (in a way that I think it’s meant to?) -Dean calling “Sammy” and then “Lucy” made me jump. Are we trying to reestablish the Lucifer thing here? Or is it just an homage? Either way...I have unhappy feels about that choice. -HAH, goodbrother!Sam emptied the alcohol. Serves you right, Dean, trying to regress to your old habits >.> -Did Dean really just let Ketch in for a bottle of alcohol? Oh, he is in a much worse place than I thought... -”We treat them all like terrorists”--GEE ARE WE LAYING THE SYMBOLISM ON THICK ENOUGH FOR YOU YET? -Oh, the sight of Rick Worth--it’s been far too long! He still looks so classy! -Scotch whiskey...is it too far of a stretch that we ought to associate this with Scotland and Crowley, and therefore crossroads demons and bad deals and selling the soul? Because that’s the vibe I’m getting here. -Still calling her “Mary.” Poor Dean, he’s so hurt... -”You’re a killer, Dean Winchester”--First Rowena, now Ketch. We’ve heard this before, other people trying to label Dean as a killer, even though that clearly bothers him. I feel a character arc (re)surfacing... -And there’s Dean making his deal with the devil (again). Another parallel to early seasons? Check. -Rufus! Gone but never forgotten :( -Aww, Sam is gonna end up guilted into this because he doesn’t want the other hunter to die...fucking Brits. -Interesting Cas parallel with Ketch here, complete with flirtation. The difference here seems to be that Dean is not biting on the flirting front. -OH SHIT VAMPIRE COUNTERSTRIKE! -Oh, Ketch does the torture thing. Fun. And of course, here is where it goes too far for Dean. Memories of Hell, much? -Remember how I said earlier that the BMOL compound felt like the ship in Alien? Whelp, considering I think everyone but Sam, Mary, and Mitch are about to die from a stealth attack by vampires, I think it now feels that way even more so. -The Brits hide from the vamps, Sam and Mary on the offensive. Not surprising... -”He’s been there for at least a decade” “WRONG!”--Lol, the Brits and their Fake News. -The Brits all flinching when Mary beheads the vampire...I’m getting a feeling it’s going to be like that one Star Trek episode where people voluntarily die painlessly to simulate their war rather than have a terrible, bloody war. The Brits have to learn that hunting should be messy and awful because it reminds you of how much the taking of a life should be avoided if possible (a major theme this season, especially regarding the Luci-baby). -HELLO COLT, MY OLD FRIEND. I DID NOT EXPECT TO SEE YOU SO SOON, BUT YAY. -Lol, Sam is all “dude, I forgot we even dropped this ten years ago.” Good job, boys. Good. Job. -When Mary mentions stealing it from Ramiel and all the pieces from 12.12 fall into place...how they all almost died...oh God, the depths of the betrayal! Look at his poor, kicked-puppy face! Sammy’s walls are breaking. He knows that Mary not only is working with the BMoL, but USED he and Dean and Cas for a selfish reason. Oh man, I can’t wait for Dean to find out... -BEHOLD MOOSE, HOLDER OF DOORS! -Pierce, I saw you bein’ creepy over there. Don’t think I didn’t see you. -”...because it’s...England.” Lol, Alpha Vampire is clearly not a fan. -”It is time you get off my lawn!” HAH! For some reason, this line fucking tickled me. The Alpha Vampire as a grouchy old man... -That AVD seems kinda useless if you can break it just by stepping on it o_O -Sam’s speech: “Blah blah yin and yang blah blah light and darkness blah blah bring balance to the force...” -Awww...I’m sad that’s it for the Alpha Vampire...I’d have loved to see more of him :( But hooray for the Colt being back in action?! -It’s interesting watching Mick and Ketch parallel the Winchester family in different incarnations--like how here they seem to parallel Sam and Dean and their different ideas and methods concerning hunting. I feel like there is a wealth of meta to be written on this. -LOL SAM, YOU DIDN’T KNOW HE CAME FOR MARY, YOU DUMMY. (Or was he? Maybe he just wanted Dean to make it clear to Mary that he still cares about her...) -Look! Look! Dean is communicating his feelings! CHARACTER GROWTH! -He called her “Mom” again *^.^* -SHE CAN MAKE HER OWN CHOICES EVEN IF HE DOESN’T LIKE THEM. GOOD LORD THERE IS SO MUCH GROWTH IN HERE I FEEL LIKE I’M IN A HUMAN GREENHOUSE! -Ooh, interesting reversal. Sam and Mary saying that they’re glad Pierce will be tortured (using Dean’s words from earlier--”good”), but when it comes down to it, that actually makes Dean uncomfortable! Look at him shuffling around! Dean is a lot of talk when it comes to being cold, but deep down, he is the most kind and humane of them all. Someone should write some meta about this bit! -Oooh, after Sam’s conversation with Mick...the framing of that shot, of Sam and Mary against Dean...I don’t think Dean’s going to be an easy convert on this BMoL thing. I wonder...will it be Dean against Sam and his mother? Will Cas be on his side? Gah, SO MUCH TO UNPACK @_@ Overall Thoughts: This episode was a fucking breath of fresh air after last week. I really enjoyed it and thought it showed such significant character growth for Sam and Dean. And the opening scene with the boys and Mary was one of the most emotional this season! I loved every second of that first six minutes. I’m still not 100% sure where this BMoL plot is going, and I don’t know that I like how the Winchesters are slowly getting on board with it. On one hand, this could be the route to a happy ending for them. On the other, it could come back to bite them in the ass in a BIG way. Whatever happens, though, at this point, I feel I trust Dabb to do it well. I’m so thrilled with the back half of this season (ignoring last week’s episode), I seriously could do this for another twelve seasons. But for now? I guess I’ll settle for getting Cas back next week!

[missboomissquick]

One of the film critics that I find most useful is, of all people, Leonard Maltin, the bespectacled, avuncular cinema scribe who has made a mint with his ubiquitous Movie Guide. This shallow, moralistic “critic” can always be relied upon to give many of my favorite movies a “BOMB” rating, or better yet, one-and-a-half stars out of four, the former at least raising his outrage to a certain dramatic pitch, the latter being merely dismissive and condescending. While he has given such arguable masterpieces as Salo, Querelle, The Driver’s Seat and Mandingo the BOMB, he reserves his one-and-a-half star designation for films such as Caligula, Star 80, Cruising, That Cold Day in the Park, von Trier’s The Idiots, Scorsese’s New York, New York, The Brown Bunny, The Killing of a Chinese Bookie and Andrzej Żuławski’s Possession. What most of these films have in common is what Maltin would describe as a “sordid” or “demeaning” representation of sexuality or, more accurately, investigations into morally ambiguous territory within the realms of fetish, sexual obsession and transgression. If Maltin gives it *½, you know it has to be good, or at least pretty damned interesting.

Looking for Mr. Goodbar (1977), one of Maltin’s 1.5 star specials, has to be one of the most audacious and fascinating movies of the seventies. Despite (or, more to the point, because of) its Restricted rating, as a teenager I snuck into the movie theater to watch it multiple times, and it rocked my world. It was the first movie poster I put on my bedroom wall (much to my parents’ consternation), spurring my sexual imagination, my budding homosexuality, and my identification with complex, unapologetically sexual female characters in a profound and lasting way. The film has a murky and somewhat mysterious reputation, praised at the time of its release for Diane Keaton’s fearless performance, and doing good box office, but dismissed in some circles (like Maltin’s) as tawdry and exploitative. I eagerly bought it when it was released on VHS, but astonishingly it has never been officially released on DVD or Blu-ray. Some sources attribute this to music rights (the soundtrack is stellar, including classic songs by Donna Summer, Marlene Shaw, Thelma Houston, and many more); others say that Tom Berenger has tried to keep it under wraps (a shame if true, as it’s one of his best performances). Whatever the reason, it’s almost fitting that such a complex and transgressive film has been suppressed.

What strikes me first about rewatching Goodbar (now available on YouTube!) is how practically experimental it is in form and narrative style, especially in comparison to contemporary Hollywood’s slavish capitulation to conventional narrative form and formulaic content. The opening montage of color street shots, including flash-forwards of Keaton in her milieu of porn theaters and seedy bars, is immediately followed by a black-and-white still montage (photos by Kathy Fields, daughter of the film’s producer, Freddie Fields) set to an overture of the soundtrack music, for the opening credit sequence. (Both Goodbar and Cruising, a kind of gay counterpart to Goodbar that came out two years later, had trailers composed of black-and-white still photo montages, something that would be unheard of today.) The director of the film, Richard Brooks, who also adapted the screenplay from Judith Rossner’s pulp novel of the same name, came out of the tradition of classic Hollywood (he directed such seminal films as Cat on a Hot Tin Roof, Elmer Gantry and In Cold Blood), but here he was clearly influenced by the deconstructive and fractured narrative and formal techniques of seventies Hollywood, which was influenced itself by underground and experimental cinema, B-movie chic, and even pornography, a genre that, after the sexual revolution, had a certain forbidden cachet. Goodbar veers between classic technique (rear-screen projection, artificial street sets and lighting – Manhattan as depicted in Goodbar at times almost looks like Kubrick’s studio recreation of it in Eyes Wide Shut) and more modern formal flourishes – location shots, jarring montage, fragmented images, achronological editing, etc. (Brooks’ excessive and highly symbolic use of mirrors in the movie almost gives Altman a run for his money.) The old and new schools of Hollywood clash in Goodbar, with spectacular and disturbing results.

What better actor, then, than Diane Keaton to portray Goodbar‘s main character, Theresa Dunn? (The novel and film are based on the true-life story of Roseann Quinn, a first-grade teacher of deaf children who cruised Manhattan’s dive bars seeking anonymous sexual partners and recreational drugs until she was brutally stabbed to death in her bed in 1973.) Straddling old-school Hollywood glamour as Woody Allen’s main muse and playing Al Pacino’s love interest Kay in The Godfather films (in Goodbar, Theresa reads The Godfather in one of the bars she frequents), Keaton also signified a new kind of female star, independent, liberated, and sexually assertive, wearing men’s clothes and putting her career first in Annie Hall, for example, released the same year as Goodbar. (In several scenes, like the one in which she accidentally drops the phone receiver into the toilet, Keaton actually becomes Annie Hall.) The film is told completely from Theresa’s point of view, showing us her fantasies and desires with dogged subjectivity (Keaton is virtually in every scene in the movie, save for several in which her murderer is introduced).

To say that Goodbar is an obsessive and symbolically overdetermined film would be an understatement: the film compulsively reiterates themes, visual motifs and parallel narratives, a relentless and repetitive reiteration of ideas that lends that film the aspect of a Freudian dream landscape, a baroque, Boschian sequence of fantasies, projections and illusions. (Fantasy sequences often start out as “false narratives,” initially perceived as a progression of the actual narrative, only to be revealed ultimately as merely morbid or sexually transgressive daydreams.) The first third of the film, before Theresa hits the bars in earnest, is slightly more conventional, but still plays with subjective and objective reality. The fractured fantasy motif is introduced when she throws herself in front of a car driven by the self-absorbed college professor who just jilted her (“I can’t stand the company of a woman right after I’ve fucked her,” he says, one of many memorable lines in the film), and then has her breast kissed by the emergency doctor (Brian Dennehy!) who tries to seduce her on the way to the operating table. Theresa gets sexually aroused when she visits her sex-kitten sister, Catherine (a deliciously self-referential Tuesday Weld, garnering her one and only Oscar nomination here) and finds her watching 16mm porn films as part of a swinging foursome. (“You like home movies? Let’s watch the kiddies play,” says Weld’s female companion.) Theresa smokes grass and marvels at the pornographic glass mobile hanging in her sister’s pad. (It later becomes the major symbol of her own pornographic imagination.) She moves into the dingy basement apartment below her sister, and begins practicing sign language in the bathroom mirror, then masturbating with a pillow. Her life begins its ceaseless tide between day and night, light and dark, respectability and licentiousness, morality and immorality: first-grade teacher for the deaf by day, with her hair pulled back and wearing glasses; unbridled, hedonistic adventuress by night, letting her hair down, sans glasses. As her future lover and cokehead gigolo, Tony (Richard Gere), will succinctly put it, “Teacher of little kids cruising crummy bars. Jesus Christ, no wonder this country’s all screwed up!”

But the film is not judgmental of Theresa’s sexual voraciousness and pursuit of altered states or reality. Quite the contrary, it celebrates her libidinous drive and portrays her as happy and content with her life, except on the occasions when it starts to interfere with her day job. This has a lot to do with Keaton’s startling, orgasmic performance. For the only actor who refused to disrobe in the original Broadway production of Hair, Keaton certainly rises to the occasion here. Showing her breasts unselfconsciously, lifting up her skirt to expose her ass after she straddles her professor lover, she gives a performance of rare sexual frankness and sensuality. When the film really kicks in, following Theresa to a variety of smoky, crowded bars, scoring coke and dancing with the multicultural clientele, you get a genuine sense of the character’s carnal exuberance and exhilaration. (Novelist Rossner was reputedly not happy with this sanguine representation of Theresa’s sexual liberation.) All this is set in counterpoint to her strict Irish Catholic family life, with her father (Richard Kiley) constantly judging and berating her, the only part of the movie that tends to fall into cliché. (Her lower back scar from a congenital disease becomes the main symbol of her family’s dysfunction.) The scene in which she is confronted with an imposing nun in the subway sums it up neatly, although it’s not at all clear whether it’s intended as reality or a fantasy projection of her guilt.

In terms of reflecting the era and all of its sociological and cultural underpinnings, Goodbar is a unique document of the post-sixties sexual revolution, reconfigured as a neo-noir. Theresa Dunn, and Keaton’s interpretation of her, is undeniably feminist – living happily on her own, eschewing marriage, monogamy and reproduction (in one scene she tells a doctor to fix it permanently so she will never have kids). But the film also gently lampoons feminism, as per the scene in which Theresa does isometric exercises to increase her bust size (a trend of the era) while watching Women’s Lib protest footage on TV. Theresa’s idea of feminism is much more daring and politically incorrect than the traditional Second Wave: she fantasizes about being a hooker turning tricks on the street early on in the film, and later she is amused when she starts to inadvertently get paid by one-night-stands who mistake her for a prostitute. She makes no judgment when Catherine tells her she’s found a good “safecracker” (abortionist), and she takes full control of her own reproductive destiny to the point of rejecting it altogether. Quinn, the real-life Theresa, was murdered less than 10 years after IUDs and oral contraceptives became popular, which changed the course of female sexuality forever. New York City was also a completely different animal in the seventies, with an estimated 40,000 prostitutes working, three times as many murders as today, and a very high incidence of crack and heroin use. (Quinn’s apartment was only a couple of blocks from the infamous Needle Park, a shooting locale for junkies immortalized in Jerry Schatzberg’s 1972 The Panic in Needle Park, starring Al Pacino.) The scenes in which Theresa smokes grass and snorts cocaine are shot in a hazy, romantic style, capturing the sensuousness and pleasurableness of the drugs that makes them so popular in the first place. In one extraordinary scene, when Theresa is about to try cocaine for the first time, she asks Tony the Gigolo what it does to you. “It makes America beautiful,” he replies.

Although the film is undoubtedly weighed more toward a celebration of female sexuality and hedonism, inevitably Theresa’s pursuit of pure pleasure catches up to her, as it must in all Hollywood movies. However, the film doesn’t particularly moralize about her lifestyle, but rather presents an explanation for the forces that ultimately destroy her: the impotence, sexual repression, and, more to the point, homosexual repression of her male lovers. The film presents three main male figures in Theresa’s life: James (the great William Atherton), the good Catholic boy and welfare worker favored by her father who helps her get a hearing aid for a poor black deaf girl in her class; Tony (early vintage Richard Gere), the coke-fueled American gigolo with a mother complex; and Gary (a very sexualized Tom Berenger), the repressed homosexual hustler who ultimately murders her. Each one is presented as her potential killer, their psychoses developed in parallel narrative threads.

James, acting as a surrogate for her father, represents the ideals of family and normalcy, and yet he is also portrayed as having, like her father, a violent temper (in one scene he tears down her pornographic glass mobile in a rage): an impotent, sexually repressed monster of sorts. In order to get her into bed, he tells her a made-up story about how as a child he witnessed his mother humiliating his father for not being able to get it up, and him beating her for it, which is followed by the extraordinary scene in which Theresa, when she discovers he’s wearing a condom, laughs hysterically and blows it up like a balloon, asking, “Is this supposed to protect you or me?” She humiliates and rejects him for his conventional sexuality, resulting in him becoming her stalker. He finally confronts her with the traditional, moral point of view: “What’s here when you come home? Anything that means anything to you? Family, a dog, a cat? Friends? Do you have one woman friend you can talk to? Last election did you even fucking vote?” James’ reinforcement of the status quo and his likeness to her father repulses her. You can easily imagine that he could kill her for it, especially when she suggests that perhaps he isn’t even really into women sexually at all.

Richard Gere, as the hustler Vietnam war vet Tony, gives one of the most electric performances of the seventies, in the role that probably made him a star. Theresa meets Tony when she witnesses him trying to steal money from a purse on the bar (later Theresa herself starts to shoplift as part of her own rebellion), and subsequently takes him home for a one-nighter. In the scene that blew my mind when I saw the film as a teenager, Gere, wearing nothing but an open blue shirt and white jock strap, chugs from a bottle of champagne and does pushups, his muscular ass clearly visible. Then, clad only in the jock, he does a frenetic dance in the dark with a green fluorescent switchblade, which ends with him mock-stabbing Theresa, one of many foreshadowings in the film of her grisly demise. Later in the film, after Theresa rejects him, he simulates a premature ejaculation with a bottle of beer, symbolizing his sexual shortcomings. “You and my mother: the two biggest cunts in the world,” he tells her, his mother complex also suggesting sexual impotence. In another mind-blowing scene, Catherine rushes into Theresa’s apartment on New Year’s Eve with a masked companion who stabs her with a fake knife. “Your thing is limp,” says her sister, to which the man replies, “Story of my life.” Theresa also accuses another random trick of being queer after he takes her to a gay bar. “Me, queer?” he says. “Jesus, I’m a married man. I have two kids and a very expensive mistress!” All the men in Goodbar are putting up a front of being a prime specimen of heterosexual normalcy, a façade that Theresa sees through like a seer. (In Greek mythology, Theresa is the blind seer who warns Narcissus of his ultimate demise.)

As in the real-life story, Theresa is ultimately murdered by a gay male who is wracked with guilt and in denial about his homosexuality. Whether consciously or not, Tom Berenger plays the sexy murderer as a cross between Rocky in the Rocky Horror Picture Show and Helmut Berger in The Damned. In the scene in which he is bashed by a group of homophobes (that hop out of a hearse!) on New Year’s Eve, he violently careens around in a jock strap, blond wig and feather boa, blaming his sugar daddy for turning him into a faggot. When Theresa picks him up at a bar (she intends him to be her last trick, giving up her wicked ways as a New Year’s resolution), she doesn’t realize that he’s an ex-con with a violent temper, and a self-loathing homosexual. (“In my neighborhood,” he tells her, “if you didn’t fight, you were a fruit. In prison, if you didn’t fight, you spread ass!”) Like Narcissus, Theresa has finally found her Nemesis. (The film is full of double imagery, from the Dorian Grey drawing of herself that appears on her wall, to the constant mirror imagery, to the various dopplegangers that faux-stab her throughout the movie.) This time, when her love object can’t get it up and starts to masturbate furiously, she tells him he doesn’t have to prove anything. The consequences are fatal. “Prove? Prove what? I don’t got to prove nothing to you. You think I’m a flaming faggot!” What follows is one of the most harrowing, dark and disturbing rape/murder scenes ever to appear in a mainstream movie. In his rage, Gary inadvertently knocks over the strobe light that James had given her as a birthday present, turning the horrible act into a lurid, cinematic spectacle. (The symbolism couldn’t be thicker: earlier James had told Theresa he bought her the strobe because it reminded him of her: light and dark, on and off, now I see you, now I don’t.) In a gruesome display of the return of the repressed, he violently rapes her while plunging the phallic knife repeatedly into her chest. No matter how many times I watch the film, this visceral scene moves me to tears. Theresa, who has been portrayed as the strong, intelligent, liberated woman, has her light brutally extinguished by the forces of sexual repression that mangle and destroy the male egos of her lovers. It’s not so much a cautionary tale against female promiscuity and hedonism, but rather one against those who deny their own desires and project their rage and frustration onto the Other.

via Talkhouse //